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 Nicaragua and from Seoul.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 Cairo and Winnipeg.
I'm losing my edge to the art-school Hong Kong 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 theremin 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 Vainqueur to the techno kids.
I played it at the Spitz.
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 China Crisis. All the underground hits.
All The Gap Band tracks. I heard you have a vinyl of every Mars 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 '70s.
I hear you're buying a guitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a kango's stein massive record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Henry Cow,
The Busters,
Ken Boothe,
Michelle Simonal,
Sarah Menescal,
Gil Scott-Heron and Jamie xx,
The Moleskins,
Joey Negro,
Mr. Review,
Soft Machine,
Lucky Dragons,
The Slackers,
New Age Steppers,
Pagans,
Gastr Del Sol,
Aswad,
Barrington Levy,
The Star Department,
MDC,
Bauhaus,
Peter and Kerry,
The Residents,
The Birthday Party,
The Sisters of Mercy,
Unrelated Segments,
Mars,
The Last Poets,
Grandmaster Flash,
Technova,
Rakim,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Sonics,
Gang Green,
Scott Walker,
Vainqueur,
A Flock of Seagulls,
Scrapy,
The Walker Brothers,
Avey Tare & Kría Brekkan,
Depeche Mode,
The Blackbyrds,
Fifty Foot Hose,
Barclay James Harvest,
Parry Music,
FM Einheit,
The Mummies,
Richard Hell and the Voidoids,
Jimmy McGriff,
The Index,
World's Most,
Avey Tare's Slasher Flicks,
Sticky Fingaz feat. Raekwon,
Marvin Gaye,
Eddi Front,
The Fuzztones,
A Certain Ratio,
Pharoah Sanders,
Kevin Saunderson,
Pole,
Bobby Byrd,
Oneida, Oneida, Oneida, Oneida.
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.