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 Chile and from Lagos.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1962 to 1977.
I'm losing my edge.
To all the kids in New York and Lyon.
I'm losing my edge to the art-school Toronto 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 güiro 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 T. Rex to the techno 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 Mary Jane Girls. All the underground hits.
All Cecil Taylor tracks. I heard you have a vinyl of every Metal Thangz record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying an oboe and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Bill Wells record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Terrestrial Tones,
Audionom,
Marmalade,
Aural Exciters,
The Velvet Underground,
Lungfish,
Don Cherry,
Deakin,
Dual Sessions,
The Fortunes,
Warren Ellis,
Reuben Wilson,
Make Up,
Pharoah Sanders,
The Peanut Butter Conspiracy,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Robert Görl,
Gil Scott-Heron & Brian Jackson,
Susan Cadogan,
Janne Schatter,
the Normal,
Soft Cell,
Radiohead,
Cal Tjader,
Minutemen,
E-Dancer,
Peter and Kerry,
Eli Mardock,
Rowland S Howard / Lydia Lunch,
Wolf Eyes,
JFA,
The Motions,
Lyres,
Altered Images,
X-102,
Shuggie Otis,
Rhythm & Sound,
Duran Duran,
Peter Gordon & Love of Life Orchestra,
Grauzone,
Todd Rundgren,
Lou Christie,
The Evens,
Jeru the Damaja,
Marc Almond,
The United States of America,
Parry Music,
The Techniques,
Albert Ayler,
Supertramp,
Technova,
Max Romeo,
Sunsets and Hearts,
Motorama,
Boogie Down Productions,
Country Joe & The Fish,
Michelle Simonal,
The Index,
Soul II Soul,
Scrapy,
Public Enemy,
Sad Lovers and Giants, Sad Lovers and Giants, Sad Lovers and Giants, Sad Lovers and Giants.
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.