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 Liechtenstein and from Woodstock.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1974.
I'm losing my edge.
To all the kids in Edmonton and Milan.
I'm losing my edge to the art-school Paris 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 harpsichord sounds with much patience.
I was there when Nile Rodgers 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 Aaron Thompson to the jazz kids.
I played it at the Hacienda.
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 Barbara Tucker. All the underground hits.
All Cecil Taylor tracks. I heard you have a vinyl of every Blake Baxter 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 '50s cut and another box set from the '90s.
I hear you're buying a guitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Yellowson record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hardrive,
Soul Sonic Force,
Boredoms,
Barclay James Harvest,
The Gun Club,
Ituana,
Avey Tare,
Interpol,
James White and The Blacks,
The Associates,
Laurel Aitken,
Clear Light,
Lee Hazlewood,
Brick,
Lakeside,
Deepchord,
Pussy Galore,
Cameo,
Be Bop Deluxe,
Vainqueur,
Technova,
Toni Rubio,
Siglo XX,
Marcia Griffiths,
Idris Muhammad,
X-Ray Spex,
Pere Ubu,
New York Dolls,
Orchestral Manoeuvres in the Dark,
Bill Wells,
Iggy Pop,
Funkadelic,
FM Einheit,
Heavy D & The Boyz,
Pantytec,
JFA,
Swans,
Dennis Brown,
Average White Band,
LL Cool J,
Carl Craig,
Spoonie Gee,
Piero Umiliani,
Byron Stingily,
Mantronix,
Tim Buckley,
Man Eating Sloth,
Nico,
Roy Ayers Ubiquity,
The Index,
Kerri Chandler,
Lou Christie,
Ponytail,
Drexciya,
Gregory Isaacs,
Accadde A,
The Litter,
Radiopuhelimet,
Y Pants,
Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis.
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.