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 Montenegro and from Beijing.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Bologna and New York.
I'm losing my edge to the art-school Paris 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the 808 sounds with much patience.
I was there when Nile Rodgers 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 Terry Callier to the rap kids.
I played it at the Troubador.
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 Kerrie Biddell. All the underground hits.
All Vaughan Mason & Crew tracks. I heard you have a vinyl of every Flash Fearless 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 '50s cut and another box set from the '90s.
I hear you're buying a snare and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Bang on a Can All-Stars record.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Quadrant,
Ronan,
Dorothy Ashby,
Joey Negro,
Bad Manners,
Ronnie Foster,
Boredoms,
Rakim,
The Vogues,
Selector Dub Narcotic,
Yellowson,
Gian Franco Pienzio,
The Fire Engines,
the Slits,
Chrome,
Marcia Griffiths,
Mary Jane Girls,
Johnny Osbourne,
Procol Harum,
Dead Boys,
the Fania All-Stars,
Swans,
The United States of America,
Matthew Bourne,
The Dave Clark Five,
Cybotron,
Iggy Pop,
Shoche,
The Alarm Clocks,
U.S. Maple,
The J.B.'s,
Judy Mowatt,
Derrick Morgan,
OOIOO,
The Litter,
Aaron Thompson,
Tomorrow,
The Black Dice,
John Holt,
The Trojans,
Roxy Music,
The Moody Blues,
Animal Collective,
Ludus,
Archie Shepp,
Pulsallama,
Lalo Schifrin,
Strawberry Alarm Clock,
Siouxsie and the Banshees,
Bauhaus,
Tommy Roe,
Gichy Dan,
Circle Jerks,
Sugar Minott,
The Blackbyrds,
Sticky Fingaz feat. Raekwon,
Orchestral Manoeuvres in the Dark,
The Cowsills,
Infiniti,
Pet Shop Boys,
The Modern Lovers,
Michelle Simonal, Michelle Simonal, Michelle Simonal, Michelle Simonal.
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.