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 Congo and from Tehran.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Hong Kong and Accra.
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 rhodes sounds with much patience.
I was there when Lou Reed 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 Gregory Isaacs to the electroclash 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 Cymande. All the underground hits.
All Babytalk tracks. I heard you have a vinyl of every Throbbing Gristle 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 mellotron and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Saccharine Trust record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Donald Byrd,
Todd Terry,
ABC,
Sexual Harrassment,
Crime,
Robert Hood,
The Techniques,
Moss Icon,
The Star Department,
Fatback Band,
Anthony Braxton,
Suburban Knight,
Depeche Mode,
The Young Rascals,
Wire,
ABBA,
Thee Headcoats,
Pere Ubu,
Laurel Aitken,
Lafayette Afro Rock Band,
Scratch Acid,
Niagra,
Crash Course in Science,
Oneida,
The Sound,
cv313,
The West Coast Pop Art Experimental Band,
Bluetip,
The Count Five,
Spoonie Gee,
Slick Rick,
Clear Light,
Donny Hathaway,
Mission of Burma,
Maleditus Sound,
Eli Mardock,
Jeff Mills,
Prince Buster,
Supertramp,
Animal Collective,
Shuggie Otis,
Lizzy Mercier Descloux,
Pharoah Sanders,
Aural Exciters,
The Doobie Brothers,
Crispy Ambulance,
Eric B and Rakim,
Desert Stars,
Chris & Cosey,
Rhythim Is Rhythim,
Idris Muhammad,
Arcadia,
Pharaoh Sanders and the Fire Engines,
Marc Almond,
Grey Daturas,
Icehouse,
Fort Wilson Riot,
Heavy D & The Boyz,
Derrick Morgan,
Kauko Röyhkä ja Narttu,
The Remains, The Remains, The Remains, The Remains.
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.