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 Benin and from Spokane.
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 1972.
I'm losing my edge.
To all the kids in Bologna and Stockholm.
I'm losing my edge to the art-school Johannesburg 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the organ sounds with much patience.
I was there when Lou Reed 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 David Axelrod to the disco 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 Franke. All the underground hits.
All The Gap Band tracks. I heard you have a vinyl of every Eyeless In Gaza record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a mellotron and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Soft Machine record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
DJ Sneak,
The Count Five,
Oppenheimer Analysis,
Gang Starr,
Guru Guru,
Red Lorry Yellow Lorry,
Absolute Body Control,
The Mighty Diamonds,
Visage,
Excepter,
Art Ensemble Of Chicago,
Oblivians,
Yazoo,
Spoonie Gee,
Terry Callier,
Grauzone,
Altered Images,
Arab on Radar,
Darondo,
Marmalade,
Rakim,
Ituana,
Ultra Naté,
Ten City,
Byron Stingily,
The Barracudas,
Blossom Toes,
One Last Wish,
Neil Young,
The Victims,
Tubeway Army,
Porter Ricks,
The Zeros,
Oneida,
Grandmaster Flash,
Adolescents,
Rekid,
The Neon Judgement,
Lalann,
Television,
Skaos,
Rhythm & Sound,
Ajijia Myrayebe,
the Slits,
Make Up,
Camron Feat. Jay Z And Juelz,
Barry Ungar,
Quantec,
the Sonics,
Alton Ellis,
Chris & Cosey,
Jeru the Damaja,
Alice Coltrane,
Anthony Braxton,
Ludus,
Motorama,
Morten Harket,
Lucky Dragons,
Jeff Mills,
Faraquet,
Sunsets and Hearts, Sunsets and Hearts, Sunsets and Hearts, Sunsets and Hearts.
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.