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 Slovakia and from Copenhagen.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Manchester and Halifax.
I'm losing my edge to the art-school London 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 sitar sounds with much patience.
I was there when Lou Reed 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 Anthony Braxton to the electroclash kids.
I played it at the Spitz.
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 Eric B and Rakim. All the underground hits.
All Sight & Sound tracks. I heard you have a vinyl of every Nirvana 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 '70s.
I hear you're buying a spring reverb and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Television Personalities record.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Jesus and Mary Chain,
The Star Department,
Black Pus,
The Associates,
Robert Görl,
The Remains,
Be Bop Deluxe,
Schoolly D,
Joe Finger,
Dark Day,
E-Dancer,
Lou Reed & John Cale,
Stereo Dub,
Mr. Review,
Rahsaan Roland Kirk,
Neil Young,
Faraquet,
Flipper,
Major Organ And The Adding Machine,
Art Ensemble Of Chicago,
Susan Cadogan,
the Bar-Kays,
Kool G Rap & DJ Polo,
Liliput,
The Leaves,
Loose Ends,
Youth Brigade,
Bauhaus,
Japan,
Electric Light Orchestra,
Depeche Mode,
Von Mondo,
Scan 7,
Traffic Nightmare,
Pharoah Sanders,
Carl Craig,
Ossler,
Matthew Halsall,
Model 500,
A Flock of Seagulls,
Thinking Fellers Union Local 282,
Piero Umiliani,
Orchestral Manoeuvres in the Dark,
Derrick May,
Toni Rubio,
the Normal,
Warsaw,
Scott Walker,
The Sonics,
Metal Thangz,
Procol Harum,
Barrington Levy,
Heavy D & The Boyz,
Brass Construction,
Skaos,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Lizzy Mercier Descloux,
The Raincoats,
Minutemen,
Cecil Taylor,
Essential Logic,
Lungfish,
David McCallum, David McCallum, David McCallum, David McCallum.
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.