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 Liberia and from Toronto.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1979.
I'm losing my edge.
To all the kids in Philadelphia and Tehran.
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 güiro 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 Pole to the grime kids.
I played it at Trash.
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 Lower 48. All the underground hits.
All DJ Style tracks. I heard you have a vinyl of every Darondo 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 '90s.
I hear you're buying a chamberlin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Average White Band record.
I hear that you and your band have sold your oboe and bought a güiro.
I hear that you and your band have sold your güiro and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lebanon Hanover,
Cabaret Voltaire,
Rosa Yemen,
Rites of Spring,
Pylon,
Roy Ayers Ubiquity,
Harmonia,
James White and The Blacks,
Chris Corsano,
X-101,
Siouxsie and the Banshees,
Dead Boys,
Marshall Jefferson,
Barbara Tucker,
Connie Case,
Minnie Riperton,
Ten City,
Maleditus Sound,
Marc Romboy vs. Booka Shade,
Jeru the Damaja,
Public Image Ltd.,
Wally Richardson,
Mo-Dettes,
Banda Bassotti,
Kas Product,
The Fuzztones,
Aloha Tigers,
Skaos,
L. Decosne,
The West Coast Pop Art Experimental Band,
Mad Mike,
The Pop Group,
Throbbing Gristle,
The Raincoats,
Bobby Womack,
Gabor Szabo,
Man Eating Sloth,
Nas,
The Saints,
Bad Manners,
The Music Machine,
Cecil Taylor,
Wings,
The Cramps,
The Durutti Column,
Kerri Chandler,
The Vogues,
The Victims,
Sister Nancy,
Oppenheimer Analysis,
Gang Gang Dance,
Justin Hinds & The Dominoes,
The Sisters of Mercy,
The Selecter,
Glambeats Corp.,
Pussy Galore,
The Barracudas,
Royal Trux,
Ronnie Foster,
Niagra,
Skarface,
Fort Wilson Riot, Fort Wilson Riot, Fort Wilson Riot, Fort Wilson Riot.
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.