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 Moldova and from Salvador.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Toronto and Manchester.
I'm losing my edge to the art-school Mumbai 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the 808 sounds with much patience.
I was there when David Bowie 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 Minnie Riperton to the crunk kids.
I played it at the Crocodile.
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 The Techniques. All the underground hits.
All Television Personalities tracks. I heard you have a vinyl of every Glenn Branca record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a spring reverb and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a John Holt record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eric Dolphy,
Eyeless In Gaza,
Jeff Mills,
Angry Samoans,
Johnny Clarke,
Black Pus,
Chris Corsano,
Graham Central Station,
The New Christs,
Agent Orange,
Oneida,
Rahsaan Roland Kirk,
Eric B and Rakim,
CMW,
Lower 48,
Joyce Sims,
the Germs,
Goldenarms,
Tom Boy,
China Crisis,
Eden Ahbez,
The Trojans,
Tim Buckley,
Amon Düül II,
Stetsasonic,
Kango’s Stein Massive,
The Happenings,
D'Angelo,
Big Daddy Kane,
X-Ray Spex,
The Count Five,
Dark Day,
Electric Prunes,
The Kinks,
Radiopuhelimet,
Alton Ellis,
Jawbox,
Bizarre Inc.,
Swans,
Bootsy Collins,
Crispy Ambulance,
The Leaves,
The Jesus and Mary Chain,
Barrington Levy,
Deepchord,
Mr. Review,
Siglo XX,
Pole,
Hashim,
Davy DMX,
Barbara Tucker,
Scrapy,
Wings,
Popol Vuh,
Gerry Rafferty,
Aswad,
Ponytail,
Easy Going,
The Martian,
The Index,
DJ Sneak,
Excepter,
Sticky Fingaz feat. Raekwon,
Scion, Scion, Scion, Scion.
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.