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 Suriname and from Mumbai.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Seoul and Hong Kong.
I'm losing my edge to the art-school Hong Kong 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 1973 at the first Television practice in a loft in New York.
I was working on the marimba sounds with much patience.
I was there when Robert Palmer 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 Hashim to the grunge 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 Quadrant. All the underground hits.
All Barbara Tucker tracks. I heard you have a vinyl of every L. Decosne 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 '50s cut and another box set from the '80s.
I hear you're buying a snare and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Gong record.
I hear that you and your band have sold your harpsichord and bought a güiro.
I hear that you and your band have sold your güiro and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Josef K,
Chrome,
Rod Modell,
Liliput,
Red Lorry Yellow Lorry,
Johnny Osbourne,
T. Rex,
Sparks,
The Zeros,
The Jesus and Mary Chain,
Tomorrow,
The Gories,
Jeff Mills,
The Durutti Column,
This Heat,
Soft Machine,
Henry Cow,
Lou Reed,
Silicon Teens,
Sun Ra Arkestra,
Soft Cell,
Roy Ayers Ubiquity,
Aswad,
Gang Gang Dance,
Wighnomy Brothers & Robag Wruhme,
Zero Boys,
Idris Muhammad,
Danielle Patucci,
Cabaret Voltaire,
Sound Behaviour,
DJ Sneak,
June Days,
Lou Christie,
Q and Not U,
Lakeside,
Lizzy Mercier Descloux,
Mary Jane Girls,
Arthur Verocai,
Echospace,
Deadbeat,
Robert Hood,
The Toasters,
Ultra Naté,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Velvet Underground,
K-Klass,
Rites of Spring,
X-101,
The Smiths,
Tubeway Army,
Kevin Saunderson,
JFA,
The Motions,
Excepter,
Avey Tare's Slasher Flicks,
Maurizio,
The Happenings,
Chris & Cosey,
Jandek,
Stiv Bators,
R.M.O.,
Don Cherry,
Con Funk Shun,
Bobby Sherman, Bobby Sherman, Bobby Sherman, Bobby Sherman.
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.