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 Paraguay and from Cairo.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1960 to 1973.
I'm losing my edge.
To all the kids in London and Portland.
I'm losing my edge to the art-school Cairo 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 snare 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 Kerrie Biddell to the funk kids.
I played it at the Astoria.
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 Star Department. All the underground hits.
All Kerrie Biddell tracks. I heard you have a vinyl of every PIL record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an organ and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Jeru the Damaja record.
I hear that you and your band have sold your snare and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
David Axelrod,
Adolescents,
Soft Machine,
Fat Boys,
Masters at Work,
Magazine,
Danielle Patucci,
The Sound,
The Grass Roots,
Faust,
The Fugs,
Lalann,
The Associates,
Wally Richardson,
Gastr Del Sol,
Depeche Mode,
Kerrie Biddell,
Lindisfarne,
Dead Boys,
Camron Feat. Jay Z And Juelz,
Aural Exciters,
Laurel Aitken,
Wire,
Black Bananas,
Tubeway Army,
Kevin Saunderson,
Selector Dub Narcotic,
The Pop Group,
Kango’s Stein Massive,
Organ,
48th St. Collective,
Kauko Röyhkä ja Narttu,
Japan,
8 Eyed Spy,
New Order,
Whodini,
Ronan,
Lee Hazlewood,
Orchestral Manoeuvres in the Dark,
Louis and Bebe Barron,
Notorious Big And Bone Thugs,
Bill Wells,
Spandau Ballet,
Magma,
Subhumans,
Alison Limerick,
Letta Mbulu,
Sister Nancy,
Andrew Ashong & Theo Parrish,
Gang Gang Dance,
E-Dancer,
Fifty Foot Hose,
Saccharine Trust,
Fad Gadget,
Cabaret Voltaire,
Youth Brigade,
Bobby Sherman,
Stereo Dub,
Marshall Jefferson,
Fugazi,
Heaven 17,
Ice-T,
The Neon Judgement, The Neon Judgement, The Neon Judgement, The Neon Judgement.
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.