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 Belize and from Portland.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Houston and Calgary.
I'm losing my edge to the art-school Mumbai 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 synthesizer 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 Crime to the funk 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 The Offenders. All the underground hits.
All Country Joe & The Fish tracks. I heard you have a vinyl of every Harpers Bizarre record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a sitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Larry & the Blue Notes record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Symarip,
The Leaves,
the Human League,
48th St. Collective,
Notorious Big And Bone Thugs,
Depeche Mode,
Dawn Penn,
Main Source,
Minutemen,
Bootsy's Rubber Band,
Sonic Youth,
The Happenings,
Intrusion,
Piero Umiliani,
Delta 5,
Nils Olav,
Avey Tare & Kría Brekkan,
Interpol,
Connie Case,
Kango’s Stein Massive,
Sarah Menescal,
Jimmy McGriff,
Aaron Thompson,
Lindisfarne,
The Gap Band,
Sound Behaviour,
Animal Collective,
Scratch Acid,
Matthew Halsall,
Mars,
ABBA,
Echo & the Bunnymen,
Nas,
Scott Walker,
Alphaville,
Television,
Brick,
Swans,
The Misunderstood,
Silicon Teens,
Johnny Clarke,
Deakin,
Lebanon Hanover,
The Black Dice,
The American Breed,
Kool Moe Dee,
Kings Of Tomorrow,
June of 44,
Maurizio,
Soul Sonic Force,
H. Thieme,
These Immortal Souls,
Be Bop Deluxe,
Big Daddy Kane,
Saccharine Trust,
Byron Stingily,
Mad Mike,
Sight & Sound,
David Bowie,
Cameo,
Ash Ra Tempel,
John Foxx, John Foxx, John Foxx, John Foxx.
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.