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 El Salvador and from Lagos.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1977.
I'm losing my edge.
To all the kids in Woodstock and Winnipeg.
I'm losing my edge to the art-school Halifax 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 spring reverb 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 Dorothy Ashby to the funk kids.
I played it at the Spitz.
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 Outsiders. All the underground hits.
All Scott Walker tracks. I heard you have a vinyl of every These Immortal Souls record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a linndrum and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Ludus record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bill Wells,
Model 500,
Magma,
K-Klass,
Excepter,
DNA,
Sight & Sound,
Gil Scott-Heron & Brian Jackson,
The Leaves,
The Grass Roots,
The Moleskins,
Bizarre Inc.,
The Mojo Men,
The Blackbyrds,
Dead Boys,
China Crisis,
Kerrie Biddell,
The Knickerbockers,
The Names,
The United States of America,
U.S. Maple,
Erykah Badu,
Yusef Lateef,
Faust,
Orchestral Manoeuvres in the Dark,
PIL,
Minor Threat,
Circle Jerks,
Tears for Fears,
Crispy Ambulance,
Matthew Bourne,
The Gap Band,
The Star Department,
AZ,
Rahsaan Roland Kirk,
Inner City,
H. Thieme,
Fugazi,
Barclay James Harvest,
Brothers Johnson,
Adolescents,
Strawberry Alarm Clock,
Masters at Work,
Little Man,
Bob Dylan,
Au Pairs,
Roy Ayers,
Ultravox,
The Pop Group,
the Germs,
The Cosmic Jokers,
Heavy D & The Boyz,
Anthony Braxton,
Isaac Hayes,
Vainqueur,
Crash Course in Science,
the Bar-Kays,
Accadde A,
Scott Walker + Sunn O))),
Lonnie Liston Smith,
Andrew Hill,
Blancmange,
Ossler, Ossler, Ossler, Ossler.
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.