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 Italy and from Tehran.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1966 to 1975.
I'm losing my edge.
To all the kids in Spokane and Portland.
I'm losing my edge to the art-school Salvador 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 theremin 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 Chrome to the funk 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 Gian Franco Pienzio. All the underground hits.
All the Normal tracks. I heard you have a vinyl of every the Association 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 '50s cut and another box set from the '80s.
I hear you're buying a marimba and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Kerrie Biddell 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?
Main Source,
Kool G Rap & DJ Polo,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
John Cale,
Brass Construction,
Outsiders,
Visage,
Marc Romboy vs. Booka Shade,
Angry Samoans,
The Fire Engines,
Ludus,
New Order,
Connie Case,
X-101,
Wire,
Lou Reed & John Cale,
Black Flag,
Kerrie Biddell,
Soft Machine,
Johnny Osbourne,
Lou Reed,
Blossom Toes,
The Searchers,
Nas,
Jawbox,
Electric Prunes,
Radio Birdman,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Thee Headcoats,
cv313,
Funky Four + One,
The Gladiators,
Spoonie Gee,
Brothers Johnson,
The Neon Judgement,
Notorious Big And Bone Thugs,
Gary Puckett & The Union Gap,
Byron Stingily,
Warren Ellis,
Fort Wilson Riot,
Stereo Dub,
The Music Machine,
Harpers Bizarre,
The Human League,
Sight & Sound,
The Birthday Party,
Franke,
Johnny Clarke,
Joe Smooth,
Donald Byrd,
10cc,
Masters at Work,
Swans,
Godley & Creme,
Can,
The Grass Roots,
MC5,
Reagan Youth,
Lizzy Mercier Descloux,
Bobby Hutcherson,
Robert Wyatt, Robert Wyatt, Robert Wyatt, Robert Wyatt.
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.