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 Dominican Republic and from Shanghai.
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 1962 to 1974.
I'm losing my edge.
To all the kids in London and Taipei.
I'm losing my edge to the art-school Manchester 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 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 The Star Department to the grime kids.
I played it at the Hacienda.
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 Suburban Knight. All the underground hits.
All Todd Rundgren tracks. I heard you have a vinyl of every Kerrie Biddell record on German import.
I heard that you have a white label of every seminal grime 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 mellotron and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Matthew Bourne 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?
Jeff Mills,
Black Pus,
Main Source,
Vaughan Mason & Crew,
Minny Pops,
X-101,
Hashim,
Freddie Wadling,
The Black Dice,
Amon Düül,
DNA,
Manfred Mann's Earth Band,
Outsiders,
Darondo,
OOIOO,
Lizzy Mercier Descloux,
Das Ding,
Bang On A Can,
Gabor Szabo,
Slave,
Derrick Morgan,
Eric B and Rakim,
L. Decosne,
Dawn Penn,
The Blues Magoos,
8 Eyed Spy,
Max Romeo,
Lindisfarne,
Lonnie Liston Smith,
Kings Of Tomorrow,
Unwound,
Sun Ra,
Banda Bassotti,
Sandy B,
Robert Hood,
The Zeros,
Crispian St. Peters,
Parry Music,
UT,
Sam Rivers,
Sex Pistols,
Marc Romboy vs. Booka Shade,
Alton Ellis,
Althea and Donna,
Joensuu 1685,
Erasure,
Anthony Braxton,
The Remains,
Rahsaan Roland Kirk,
Kenny Larkin,
The Smiths,
Lower 48,
The Fuzztones,
DJ Sneak,
Scrapy,
Gang Gang Dance,
FM Einheit,
Ultimate Spinach,
Avey Tare's Slasher Flicks,
Radio Birdman,
Camberwell Now,
Bill Near,
Gil Scott Heron, Gil Scott Heron, Gil Scott Heron, Gil Scott Heron.
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.