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 Mexico and from Lagos.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Portland and Bremen.
I'm losing my edge to the art-school Bremen 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 oboe sounds with much patience.
I was there when Donald Fagen 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 Pete Rock & C.L. Smooth to the disco kids.
I played it at Trash.
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 Urselle. All the underground hits.
All Nas tracks. I heard you have a vinyl of every The Electric Prunes record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a marimba and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Rhythim Is Rhythim record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sight & Sound,
Glambeats Corp.,
Siglo XX,
Pierre Henry,
Josef K,
The Gories,
The Sonics,
Aural Exciters,
Terrestrial Tones,
Ultramagnetic MC's,
Faraquet,
The Searchers,
Kaleidoscope,
Cecil Taylor,
The Selecter,
Shuggie Otis,
Heaven 17,
Bronski Beat,
Jeru the Damaja,
Urselle,
Alphaville,
The Sound,
Robert Görl,
Pantaleimon,
World's Most,
Eurythmics,
Loose Ends,
Magazine,
Camron Feat. Jay Z And Juelz,
Dorothy Ashby,
The Knickerbockers,
Jawbox,
Steve Hackett,
Cabaret Voltaire,
Stereo Dub,
Pylon,
The Golliwogs,
Surgeon,
FM Einheit,
Marc Romboy vs. Booka Shade,
Subhumans,
Thompson Twins,
Gil Scott-Heron & Brian Jackson,
Sonic Youth,
Bobby Womack,
Brass Construction,
48th St. Collective,
Lucky Dragons,
Sound Behaviour,
Roxy Music,
Gang Green,
The Pretty Things,
R.M.O.,
Deadbeat,
Red Lorry Yellow Lorry,
Skaos,
The Monochrome Set,
Sällskapet,
X-102,
B.T. Express,
Davy DMX,
Wings,
Gichy Dan,
The Birthday Party, The Birthday Party, The Birthday Party, The Birthday Party.
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.