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 Morocco and from Bologna.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Lagos and Seoul.
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 808 sounds with much patience.
I was there when Captain Beefheart 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 Major Organ And The Adding Machine to the jazz 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 Idris Muhammad. All the underground hits.
All Schoolly D tracks. I heard you have a vinyl of every Audionom record on German import.
I heard that you have a white label of every seminal electroclash 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 güiro and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Barrington Levy record.
I hear that you and your band have sold your marimba and bought a güiro.
I hear that you and your band have sold your güiro and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Youth Brigade,
Lizzy Mercier Descloux,
Young Marble Giants,
The Sisters of Mercy,
X-Ray Spex,
Archie Shepp,
Isaac Hayes,
Make Up,
Graham Central Station,
Gabor Szabo,
Electric Prunes,
Frankie Knuckles,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Stereo Dub,
Tubeway Army,
The Mummies,
Avey Tare's Slasher Flicks,
Roxette,
Black Bananas,
Kevin Saunderson,
Liaisons Dangereuses,
Throbbing Gristle,
La Düsseldorf,
The Human League,
The Tremeloes,
Ornette Coleman,
Janne Schatter,
Nik Kershaw,
the Soft Cell,
Fat Boys,
Blake Baxter,
Andrew Hill,
Joensuu 1685,
Erasure,
Cluster,
Max Romeo,
The Knickerbockers,
Mars,
K-Klass,
Gil Scott-Heron and Jamie xx,
Sticky Fingaz feat. Raekwon,
Piero Umiliani,
Urselle,
Terry Callier,
Section 25,
Cameo,
Jeff Mills,
Lindisfarne,
Mad Mike,
Bang on a Can All-Stars,
Pharoah Sanders,
Kenny Larkin,
Glambeats Corp.,
Talk Talk,
Matthew Bourne,
The Modern Lovers,
Art Ensemble Of Chicago,
Pharaoh Sanders and the Fire Engines,
Cal Tjader,
Danielle Patucci,
Robert Görl, Robert Görl, Robert Görl, Robert Görl.
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.