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 Dominican Republic and from Shanghai.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1978.
I'm losing my edge.
To all the kids in Seoul and Salvador.
I'm losing my edge to the art-school Mumbai 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 mellotron 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 Little Man to the crunk 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 The Searchers. All the underground hits.
All Alice Coltrane tracks. I heard you have a vinyl of every Tom Boy record on German import.
I heard that you have a white label of every seminal crunk 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 marimba and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Fortunes record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Peter and Kerry,
Bang on a Can All-Stars,
T. Rex,
Scion,
The Selecter,
Little Man,
Japan,
Kaleidoscope,
Saccharine Trust,
Black Bananas,
Boredoms,
Andrew Hill,
10cc,
Black Flag,
DeepChord presents Echospace,
Wally Richardson,
Mission of Burma,
Röyhkä ja Rättö ja Lehtisalo,
Eyeless In Gaza,
Sun Ra,
Rakim,
Marc Romboy vs. Booka Shade,
Cheater Slicks,
Spoonie Gee,
The Dave Clark Five,
Oneida,
Lizzy Mercier Descloux,
Hardrive,
Idris Muhammad,
Byron Stingily,
Ultravox,
the Slits,
Eric Dolphy,
the Swans,
Toni Rubio,
Girls At Our Best!,
The Offenders,
Terry Callier,
Gil Scott-Heron & Brian Jackson,
Wolf Eyes,
Simply Red,
Black Sheep,
The Dirtbombs,
Average White Band,
Avey Tare's Slasher Flicks,
New York Dolls,
Amon Düül II,
The Fortunes,
The American Breed,
Piero Umiliani,
Marshall Jefferson,
Camouflage,
Pantytec,
Stockholm Monsters,
Warsaw,
Colin Newman,
Nick Cave & The Bad Seeds,
The Red Krayola,
Harpers Bizarre,
Dr. Dre and Snoop Doggy Dog,
Tropical Tobacco,
Von Mondo,
Chris & Cosey, Chris & Cosey, Chris & Cosey, Chris & Cosey.
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.