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 Peru and from Woodstock.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Copenhagen and Toronto.
I'm losing my edge to the art-school Tehran 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 harpsichord sounds with much patience.
I was there when David Bowie 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 Sonny Sharrock to the funk kids.
I played it at the Troubador.
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 Japan. All the underground hits.
All Avey Tare & Kría Brekkan tracks. I heard you have a vinyl of every Marc Almond record on German import.
I heard that you have a white label of every seminal dance 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 a theremin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Kurtis Blow record.
I hear that you and your band have sold your güiro and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Erasure,
Mission of Burma,
Stereo Dub,
Eddi Front,
Barry Ungar,
Art Ensemble Of Chicago,
The Royal Family And The Poor,
Quando Quango,
Davy DMX,
Ten City,
Section 25,
Kool Moe Dee,
Underground Resistance,
Urselle,
Steve Hackett,
L. Decosne,
Hot Snakes,
La Düsseldorf,
Harmonia,
Babytalk,
Angels of Light & Akron/Family,
Porter Ricks,
Fugazi,
Alton Ellis,
The Searchers,
Anthony Braxton,
UT,
Bobby Hutcherson,
Roy Ayers,
Rod Modell,
Audionom,
The Victims,
Lee Hazlewood,
Mary Jane Girls,
Easy Going,
Skarface,
Moby Grape,
Warsaw,
Outsiders,
Richard Hell and the Voidoids,
Negative Approach,
Josef K,
Captain Beefheart & His Magic Band,
The Mummies,
Magazine,
The Moody Blues,
Nas,
FM Einheit,
Suicide,
Public Image Ltd.,
Man Eating Sloth,
The Monks,
Motorama,
Tom Boy,
Jeff Mills,
K-Klass,
Idris Muhammad,
Shoche,
Black Pus,
Bizarre Inc.,
The Residents,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Lakeside,
Glenn Branca, Glenn Branca, Glenn Branca, Glenn Branca.
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.