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 Madagascar and from Winnipeg.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Spokane and Manila.
I'm losing my edge to the art-school Houston 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the arpeggiator sounds with much patience.
I was there when Holger Czukay 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 Hashim to the techno 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 Move. All the underground hits.
All Ornette Coleman tracks. I heard you have a vinyl of every D'Angelo 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 '60s cut and another box set from the '80s.
I hear you're buying a linndrum and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Mars record.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scan 7,
48th St. Collective,
cv313,
Tomorrow,
Excepter,
Grey Daturas,
Bootsy Collins,
Blake Baxter,
Jawbox,
The Evens,
Radio Birdman,
The Raincoats,
Anakelly,
Main Source,
Rhythm & Sound,
Sugar Minott,
Gang Starr,
Connie Case,
Amazonics,
Sticky Fingaz feat. Raekwon,
Beasts of Bourbon,
Severed Heads,
Tommy Roe,
Siouxsie and the Banshees,
Bauhaus,
Larry & the Blue Notes,
Gil Scott-Heron & Brian Jackson,
Ultramagnetic MC's,
The Cowsills,
Jerry's Kids,
The Gun Club,
Rekid,
The Names,
Eddi Front,
DNA,
Kurtis Blow,
Masters at Work,
Siglo XX,
Be Bop Deluxe,
La Düsseldorf,
Bob Dylan,
Drexciya,
Roxette,
Dead Boys,
Half Japanese,
David Axelrod,
Deepchord,
Basic Channel,
Hashim,
The United States of America,
Easy Going,
Major Organ And The Adding Machine,
Nirvana,
Joey Negro,
Sparks,
Darondo,
The Pretty Things,
Ultra Naté,
Make Up,
The Fugs,
Jacques Brel,
Kango’s Stein Massive,
Throbbing Gristle,
Barrington Levy, Barrington Levy, Barrington Levy, Barrington Levy.
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.