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 Bahrain and from London.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Toronto and Tehran.
I'm losing my edge to the art-school Spokane 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the arpeggiator sounds with much patience.
I was there when Tom Verlaine 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 Pharoah Sanders to the funk kids.
I played it at Cafe Wha.
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 Cecil Taylor. All the underground hits.
All New Order tracks. I heard you have a vinyl of every Magazine record on German import.
I heard that you have a white label of every seminal punk 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 mellotron and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a the Germs record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Faraquet,
Pantaleimon,
The Count Five,
The Residents,
Sight & Sound,
Funkadelic,
Al Stewart,
Soul II Soul,
Bang On A Can,
The Cosmic Jokers,
Danielle Patucci,
Maleditus Sound,
The Index,
Jawbox,
DeepChord presents Echospace,
Aaron Thompson,
Unrelated Segments,
Jerry's Kids,
Marc Almond,
Marmalade,
The Royal Family And The Poor,
Spandau Ballet,
Curtis Mayfield,
Gil Scott-Heron & Brian Jackson,
Archie Shepp,
Brothers Johnson,
Piero Umiliani,
Susan Cadogan,
Scientists,
Lakeside,
The Grass Roots,
The United States of America,
Youth Brigade,
MC5,
Kas Product,
Eric Copeland,
Infiniti,
Howard Jones,
The Mojo Men,
Japan,
Dorothy Ashby,
Soft Cell,
Pierre Henry,
New York Dolls,
Scion,
Brass Construction,
Gang Green,
Bobby Womack,
Kenny Larkin,
Black Sheep,
The Names,
Yusef Lateef,
Cabaret Voltaire,
The Gladiators,
The Five Americans,
Eve St. Jones,
OOIOO,
Bootsy Collins,
Lou Reed & John Cale,
cv313,
The Slits,
K-Klass, K-Klass, K-Klass, K-Klass.
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.