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 Syria and from Accra.
But I was there.
I was there in 1973.
I was there at the first Television 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 1960 to 1979.
I'm losing my edge.
To all the kids in Edmonton and Accra.
I'm losing my edge to the art-school Taipei 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 Lucky Dragons to the techno kids.
I played it at the 40 Watt.
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 Association. All the underground hits.
All June Days tracks. I heard you have a vinyl of every London Community Gospel Choir record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a clarinet and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Dorothy Ashby record.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Reed & Metallica,
Zero Boys,
The United States of America,
The Fugs,
Yusef Lateef,
Fluxion,
Pierre Henry,
Spoonie Gee,
Vladislav Delay,
The Count Five,
Kerri Chandler,
Ronnie Foster,
Connie Case,
Sun Ra,
Todd Rundgren,
Half Japanese,
Notorious Big And Bone Thugs,
Teenage Jesus and the Jerks,
Michelle Simonal,
Jesper Dahlback,
China Crisis,
Camouflage,
Sam Rivers,
Kaleidoscope,
Japan,
cv313,
Oneida,
Todd Terry,
Joensuu 1685,
Hardrive,
Patti Smith,
Nas,
Sandy B,
Aswad,
Soft Machine,
Roger Hodgson,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Ronan,
Gang of Four,
ABBA,
The West Coast Pop Art Experimental Band,
Marc Almond,
Model 500,
Gabor Szabo,
Youth Brigade,
Sound Behaviour,
Notorious BIG live in Amsterdam,
The Mighty Diamonds,
The Doors,
The Neon Judgement,
Neu!,
Scan 7,
Second Layer,
The Durutti Column,
AZ,
Cybotron,
Anthony Braxton,
Bizarre Inc.,
Joey Negro, Joey Negro, Joey Negro, Joey Negro.
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.