Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Micronesia and from Johannesburg.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1966 to 1977.
I'm losing my edge.
To all the kids in Lagos and Toronto.
I'm losing my edge to the art-school Toronto kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the clarinet sounds with much patience.
I was there when Michael McDonald started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Angels of Light & Akron/Family to the techno kids.
I played it at the Roxy.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Carl Craig. All the underground hits.
All LL Cool J tracks. I heard you have a vinyl of every The Move record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a sitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Vladislav Delay record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jacob Miller,
Circle Jerks,
Sugar Minott,
Josef K,
Nik Kershaw,
Glenn Branca,
Dorothy Ashby,
Infiniti,
Marine Girls,
Tubeway Army,
Electric Light Orchestra,
Public Image Ltd.,
X-102,
Orchestral Manoeuvres in the Dark,
Teenage Jesus and the Jerks,
Shoche,
Rod Modell,
The Neon Judgement,
The Martian,
Nas,
Lou Reed,
The Last Poets,
The Searchers,
Fluxion,
Subhumans,
The Toasters,
Mission of Burma,
The Cowsills,
Intrusion,
Robert Wyatt,
Silicon Teens,
Camberwell Now,
Monks,
Rahsaan Roland Kirk,
The Tremeloes,
Davy DMX,
Surgeon,
Toni Rubio,
The Cure,
Crime,
Wighnomy Brothers & Robag Wruhme,
Jeff Mills,
Icehouse,
The Mighty Diamonds,
The Velvet Underground,
Roy Ayers,
Liaisons Dangereuses,
Spoonie Gee,
The Fugs,
Sexual Harrassment,
The Seeds,
Piero Umiliani,
DNA,
Thinking Fellers Union Local 282,
Lonnie Liston Smith,
The Sisters of Mercy,
a-ha,
Brick,
Bobby Hutcherson,
New Age Steppers,
Barclay James Harvest,
Michelle Simonal,
The United States of America,
The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.