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 Venezuela and from Taipei.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1976.
I'm losing my edge.
To all the kids in Madrid and Portland.
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 Holger Czukay 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 Lafayette Afro Rock Band to the rock kids.
I played it at the Roxy.
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 Larry & the Blue Notes. All the underground hits.
All Avey Tare tracks. I heard you have a vinyl of every Funkadelic record on German import.
I heard that you have a white label of every seminal jazz 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 linndrum and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Shuggie Otis record.
I hear that you and your band have sold your mellotron and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Audionom,
Dark Day,
Con Funk Shun,
Louis and Bebe Barron,
Grey Daturas,
Flipper,
The Alarm Clocks,
Mars,
Organ,
Model 500,
F. McDonald,
UT,
Spandau Ballet,
Crispian St. Peters,
Nation of Ulysses,
Gerry Rafferty,
Country Teasers,
Rapeman,
Sly & The Family Stone,
Derrick Morgan,
Excepter,
Sight & Sound,
Notorious BIG live in Amsterdam,
Bauhaus,
Fad Gadget,
Von Mondo,
Swans,
Jeff Lynne,
Big Daddy Kane,
Radiohead,
X-101,
Stiv Bators,
Eden Ahbez,
Bootsy Collins,
Vaughan Mason & Crew,
Sparks,
Stetsasonic,
Aswad,
The Fire Engines,
Be Bop Deluxe,
Marc Romboy vs. Booka Shade,
The Fall,
Eric Copeland,
Index,
Suicide,
Rahsaan Roland Kirk,
Avey Tare & Kría Brekkan,
The Move,
Albert Ayler,
The Gap Band,
Mary Jane Girls,
Essential Logic,
Lafayette Afro Rock Band,
The Techniques,
Todd Terry,
Mad Mike,
Television,
Bobby Hutcherson,
The Seeds,
The Standells,
Pagans,
London Community Gospel Choir, London Community Gospel Choir, London Community Gospel Choir, London Community Gospel Choir.
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.