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 United States and from Bologna.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Accra and New York.
I'm losing my edge to the art-school Johannesburg 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 chamberlin sounds with much patience.
I was there when Michael McDonald 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 Rowland S Howard / Lydia Lunch to the rap kids.
I played it at the Crocodile.
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 Sonics. All the underground hits.
All Accadde A tracks. I heard you have a vinyl of every Max Romeo record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a guitar and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Shuggie Otis record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Desert Stars,
Leonard Cohen,
The Dead C,
Chris & Cosey,
Rapeman,
Bill Near,
Lucky Dragons,
Reagan Youth,
Charles Mingus,
Mantronix,
Symarip,
Manfred Mann's Earth Band,
Ituana,
Glenn Branca,
The Techniques,
Ralphi Rosario,
These Immortal Souls,
Matthew Halsall,
Deakin,
Lakeside,
Marc Romboy vs. Booka Shade,
Terry Callier,
Orchestral Manoeuvres in the Dark,
MDC,
The Fugs,
Avey Tare's Slasher Flicks,
Eddi Front,
Ken Boothe,
Saccharine Trust,
This Heat,
Hardrive,
The Seeds,
Tommy Roe,
Half Japanese,
Eric Dolphy,
Jacques Brel,
Ludus,
Gregory Isaacs,
Unrelated Segments,
Faraquet,
Alton Ellis,
Metal Thangz,
John Holt,
Kings Of Tomorrow,
The Smiths,
China Crisis,
Whodini,
De La Soul & Jungle Brothers,
DJ Sneak,
Loose Ends,
Negative Approach,
H. Thieme,
Guru Guru,
The Moody Blues,
Matthew Bourne,
Junior Murvin,
Panda Bear,
Sugar Minott,
Rekid,
Frankie Knuckles,
Warsaw, Warsaw, Warsaw, Warsaw.
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.