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 Panama and from Tokyo.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1970.
I'm losing my edge.
To all the kids in Winnipeg and Mexico City.
I'm losing my edge to the art-school Taipei 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 Jacques Brel to the techno kids.
I played it at the Roxy.
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 Peter & Gordon. All the underground hits.
All Eric Copeland tracks. I heard you have a vinyl of every Japan record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a theremin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Pharoah Sanders record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fifty Foot Hose,
Flipper,
Mary Jane Girls,
Spandau Ballet,
Kerri Chandler,
Gregory Isaacs,
The Golliwogs,
This Heat,
The Toasters,
Organ,
Pet Shop Boys,
Sonic Youth,
Erasure,
Susan Cadogan,
U.S. Maple,
Leonard Cohen,
JFA,
Justin Hinds & The Dominoes,
Bauhaus,
The Human League,
the Slits,
Bootsy Collins,
The Doors,
The Count Five,
The Move,
James Chance & The Contortions,
Lower 48,
Faraquet,
These Immortal Souls,
Delta 5,
Livin' Joy,
the Bar-Kays,
The Divine Comedy,
Danielle Patucci,
The Moleskins,
Sandy B,
kango's stein massive,
Echo & the Bunnymen,
Schoolly D,
Kas Product,
Super Lover Cee & Casanova Rud,
The Zeros,
Fort Wilson Riot,
Goldenarms,
The Grass Roots,
Marc Almond,
KRS-One,
The Neon Judgement,
Lalo Schifrin,
Lonnie Liston Smith,
Public Image Ltd.,
Suburban Knight,
The Sonics,
L. Decosne,
Marcia Griffiths,
Negative Approach,
De La Soul & Jungle Brothers,
Andrew Hill,
The Young Rascals,
Nation of Ulysses,
Quando Quango,
The Alarm Clocks,
Jerry Gold Smith,
Scan 7, Scan 7, Scan 7, Scan 7.
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.