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 Mozambique and from Bologna.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Houston and Bologna.
I'm losing my edge to the art-school Sao Paulo 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 sitar sounds with much patience.
I was there when Michael McDonald 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 Simply Red to the jazz 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 China Crisis. All the underground hits.
All Minutemen tracks. I heard you have a vinyl of every Notorious Big And Bone Thugs record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a theremin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Easy Going record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Newcleus,
Gil Scott Heron,
Ohio Players,
Visage,
Arab on Radar,
Sparks,
Electric Prunes,
Sam Rivers,
Marcia Griffiths,
Joensuu 1685,
Quando Quango,
Crispian St. Peters,
The Cramps,
Camberwell Now,
Jandek,
The Searchers,
Delon & Dalcan,
Saccharine Trust,
the Sonics,
Hardrive,
De La Soul & Jungle Brothers,
Eden Ahbez,
Tubeway Army,
Ash Ra Tempel,
Heavy D & The Boyz,
Harpers Bizarre,
Jimmy McGriff,
Donald Byrd,
Unrelated Segments,
Underground Resistance,
Jeff Mills,
Wighnomy Brothers & Robag Wruhme,
Scientists,
Peter and Kerry,
The Residents,
Carl Craig,
Gil Scott-Heron and Jamie xx,
Erykah Badu,
The Mummies,
Alton Ellis,
Jeru the Damaja,
Iggy Pop,
Sun Ra Arkestra,
Public Image Ltd.,
The Kinks,
Chrome,
The Alarm Clocks,
Quantec,
Ultravox,
John Holt,
The Fugs,
Rhythm & Sound,
Sonny Sharrock,
Art Ensemble Of Chicago,
Brothers Johnson,
Piero Umiliani,
Circle Jerks,
Toni Rubio,
Bobby Womack,
PIL,
The Evens, The Evens, The Evens, The Evens.
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.