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 Israel and from Calgary.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Portland and Glasgow.
I'm losing my edge to the art-school Tokyo 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the 808 sounds with much patience.
I was there when Holger Czukay 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 Gian Franco Pienzio to the rap kids.
I played it at the 40 Watt.
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 The Standells. All the underground hits.
All B.T. Express tracks. I heard you have a vinyl of every Faust record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a marimba and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Lyres record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kurtis Blow,
Andrew Hill,
Roxy Music,
John Coltrane,
Kenny Larkin,
the Bar-Kays,
Connie Case,
X-102,
Zapp,
Colin Newman,
Bobby Byrd,
Liaisons Dangereuses,
Liliput,
New Order,
Ash Ra Tempel,
The Sonics,
H. Thieme,
T. Rex,
The Monks,
Visionaries,LMNO, T- Love & Iriscience,
Slick Rick,
Neu!,
Icehouse,
The Skatalites,
A Flock of Seagulls,
Sight & Sound,
Brass Construction,
Fort Wilson Riot,
Stockholm Monsters,
Scan 7,
Banda Bassotti,
Inner City,
Terrestrial Tones,
Skriet,
Scion,
Marvin Gaye,
Andrew Ashong & Theo Parrish,
Pantaleimon,
Dead Boys,
Excepter,
Easy Going,
Matthew Halsall,
Flash Fearless,
Q and Not U,
The Gap Band,
Crash Course in Science,
The Slits,
Bush Tetras,
Sonny Sharrock,
Gabor Szabo,
ABBA,
Saccharine Trust,
Ralphi Rosario,
Gil Scott Heron,
Reagan Youth,
Sparks,
Warsaw,
The West Coast Pop Art Experimental Band,
The Dirtbombs,
The Moleskins,
Pharaoh Sanders and the Fire Engines,
The Black Dice, The Black Dice, The Black Dice, The Black Dice.
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.