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 Oman and from Philadelphia.
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 1967 to 1979.
I'm losing my edge.
To all the kids in Bologna and Portland.
I'm losing my edge to the art-school Copenhagen 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 snare 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 London Community Gospel Choir to the electroclash kids.
I played it at the 40 Watt.
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 Bobby Sherman. All the underground hits.
All EPMD tracks. I heard you have a vinyl of every Electric Prunes 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 rhodes and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Cymande record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ronnie Foster,
Faraquet,
Orchestral Manoeuvres in the Dark,
The Wake,
Wolf Eyes,
Sam Rivers,
Mark Hollis,
Pole,
Gil Scott-Heron & Brian Jackson,
Angry Samoans,
Chrome,
The Last Poets,
Warsaw,
Iggy Pop,
Teenage Jesus and the Jerks,
Sun Ra,
Hot Snakes,
Symarip,
Johnny Osbourne,
Metal Thangz,
Black Moon,
Justin Hinds & The Dominoes,
Lalo Schifrin,
Archie Shepp,
Robert Hood,
Banda Bassotti,
Bang On A Can,
Ohio Players,
Laurel Aitken,
Harmonia,
Danielle Patucci,
Television,
Main Source,
Aloha Tigers,
Public Image Ltd.,
The Martian,
Terry Callier,
Malaria!,
Fatback Band,
FM Einheit,
Babytalk,
DNA,
Brand Nubian,
Animal Collective,
Nick Fraelich,
Arcadia,
Andrew Hill,
Spandau Ballet,
The Techniques,
Flamin' Groovies,
Joensuu 1685,
A Flock of Seagulls,
Toni Rubio,
Crash Course in Science,
Bush Tetras,
Notorious BIG live in Amsterdam,
Brass Construction,
Flipper,
Das Ding,
John Cale,
Bobby Womack,
Magazine,
Gabor Szabo, Gabor Szabo, Gabor Szabo, Gabor Szabo.
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.