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 Morocco 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 1965 to 1974.
I'm losing my edge.
To all the kids in Bremen and Manchester.
I'm losing my edge to the art-school Shanghai 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the marimba sounds with much patience.
I was there when David Bowie 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 Soul II Soul 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 Archie Shepp. All the underground hits.
All Crime tracks. I heard you have a vinyl of every Hasil Adkins 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 '60s cut and another box set from the '90s.
I hear you're buying a chamberlin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Traffic Nightmare record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mo-Dettes,
Charles Mingus,
EPMD,
MDC,
F. McDonald,
Rufus Thomas,
Fat Boys,
Arthur Verocai,
Bang On A Can,
Lungfish,
Malaria!,
Section 25,
Echospace,
Art Ensemble Of Chicago,
Eddi Front,
The Misunderstood,
Amon Düül II,
AZ,
Captain Beefheart & His Magic Band,
Rod Modell,
Camberwell Now,
Ronan,
Todd Rundgren,
Avey Tare's Slasher Flicks,
The Fugs,
Eyeless In Gaza,
Vaughan Mason & Crew,
Drive Like Jehu,
The Durutti Column,
Ohio Players,
Eli Mardock,
David Bowie,
The Peanut Butter Conspiracy,
The Angels of Light,
Moss Icon,
Glambeats Corp.,
Babytalk,
Sugar Minott,
The Standells,
Alice Coltrane,
Goldenarms,
Talk Talk,
Interpol,
The Evens,
Brand Nubian,
K-Klass,
Procol Harum,
Cal Tjader,
Röyhkä ja Rättö ja Lehtisalo,
Schoolly D,
the Fania All-Stars,
The Cowsills,
Soul II Soul,
The Royal Family And The Poor,
Make Up,
Cymande,
David Axelrod,
Stiv Bators,
DeepChord presents Echospace,
Lizzy Mercier Descloux,
Major Organ And The Adding Machine,
Black Sheep,
Animal Collective, Animal Collective, Animal Collective, Animal Collective.
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.