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 Bangladesh and from Philadelphia.
But I was there.
I was there in .
I was there at the first Suicide 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 1974.
I'm losing my edge.
To all the kids in Columbus and Salvador.
I'm losing my edge to the art-school Bremen 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 rhodes 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 Dawn Penn to the jazz 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 Crispy Ambulance. All the underground hits.
All Bobby Sherman tracks. I heard you have a vinyl of every Scion record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a rhodes and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Sparks record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Anthony Braxton,
June of 44,
The Techniques,
Groovy Waters,
Niagra,
Warsaw,
Loose Ends,
The Martian,
The Victims,
John Lydon,
Echospace,
Public Image Ltd.,
Thee Headcoats,
Radio Birdman,
Sonic Youth,
Jerry's Kids,
Magazine,
Fear,
The Index,
Neu!,
Warren Ellis,
Cymande,
Bootsy's Rubber Band,
John Cale,
T.S.O.L.,
Jesper Dahlbäck,
The Gap Band,
Duran Duran,
Eli Mardock,
Avey Tare's Slasher Flicks,
The Tremeloes,
Babytalk,
Lou Christie,
Lalo Schifrin,
Matthew Halsall,
Mantronix,
The Flesh Eaters,
Minor Threat,
Röyhkä ja Rättö ja Lehtisalo,
Wings,
Roy Ayers Ubiquity,
The Misunderstood,
Sugar Minott,
Bobbi Humphrey,
The Young Rascals,
China Crisis,
Jesper Dahlback,
DNA,
The Black Dice,
Darondo,
Arcadia,
Bobby Hutcherson,
Black Bananas,
X-101,
Soul II Soul,
Sister Nancy,
The Litter,
The New Christs,
Big Daddy Kane,
A Certain Ratio, A Certain Ratio, A Certain Ratio, A Certain Ratio.
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.