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 Angola and from New York.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1962 to 1970.
I'm losing my edge.
To all the kids in London and Toronto.
I'm losing my edge to the art-school Johannesburg 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the rhodes sounds with much patience.
I was there when Nile Rodgers 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 Andrew Hill to the dance 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 Lou Reed. All the underground hits.
All Peter and Kerry tracks. I heard you have a vinyl of every Pete Rock & C.L. Smooth record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a guitar and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Alarm Clocks record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marc Almond,
Bobby Hutcherson,
Chris Corsano,
Spandau Ballet,
A Flock of Seagulls,
KRS-One,
Blancmange,
Porter Ricks,
Leonard Cohen,
Pantaleimon,
The J.B.'s,
Tropical Tobacco,
Gil Scott-Heron & Brian Jackson,
Section 25,
The Raincoats,
Drive Like Jehu,
Interpol,
China Crisis,
Colin Newman,
Buzzcocks,
Gil Scott Heron,
Marshall Jefferson,
The Slackers,
Girls At Our Best!,
Mission of Burma,
Fela Kuti,
The Fuzztones,
Richard Hell and the Voidoids,
Dark Day,
Second Layer,
Main Source,
a-ha,
Kenny Larkin,
The Martian,
The Victims,
Pere Ubu,
Maleditus Sound,
Yellowson,
The Zeros,
The Standells,
Aural Exciters,
Art Ensemble Of Chicago,
MC5,
The Associates,
Stockholm Monsters,
Fatback Band,
kango's stein massive,
The American Breed,
The Chocolate Watch Band,
Urselle,
The Toasters,
Scott Walker,
Joey Negro,
The Men They Couldn't Hang,
Scott Walker + Sunn O))),
Can,
Fad Gadget,
Grandmaster Flash and the Furious Five,
Davy DMX,
Aswad,
Sunsets and Hearts,
Sixth Finger,
Basic Channel, Basic Channel, Basic Channel, Basic Channel.
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.