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 St Kitts & Nevis and from Tehran.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Lille and Houston.
I'm losing my edge to the art-school Calgary 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the marimba sounds with much patience.
I was there when Tom Verlaine 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 Anthony Braxton to the techno kids.
I played it at the Astoria.
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 Underground Resistance. All the underground hits.
All Cecil Taylor tracks. I heard you have a vinyl of every Echospace record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a snare and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Black Moon record.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Q65,
Godley & Creme,
La Düsseldorf,
The United States of America,
Letta Mbulu,
Joe Smooth,
The Smiths,
Oppenheimer Analysis,
Country Teasers,
The Leaves,
the Association,
The Toasters,
The Monks,
The Wake,
Rhythm & Sound,
Terry Callier,
Magazine,
Gil Scott-Heron & Brian Jackson,
Banda Bassotti,
Big Daddy Kane,
The Residents,
Blake Baxter,
Brothers Johnson,
The Barracudas,
Isaac Hayes,
Japan,
Robert Hood,
Fatback Band,
Black Sheep,
Flamin' Groovies,
Visionaries,LMNO, T- Love & Iriscience,
Malaria!,
Cybotron,
Cecil Taylor,
Y Pants,
Andrew Hill,
Sound Behaviour,
Röyhkä ja Rättö ja Lehtisalo,
Davy DMX,
Pere Ubu,
Cymande,
Fela Kuti,
Crime,
Black Bananas,
Scrapy,
Nirvana,
K-Klass,
Jawbox,
Half Japanese,
The Real Kids,
Pete Rock & C.L. Smooth,
The Birthday Party,
Khruangbin,
Gastr Del Sol,
Gang Gang Dance,
Sonny Sharrock,
The Happenings,
New Order,
the Sonics,
Avey Tare & Kría Brekkan, Avey Tare & Kría Brekkan, Avey Tare & Kría Brekkan, Avey Tare & Kría Brekkan.
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.