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 Sierra Leone and from Woodstock.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Jakarta and Lagos.
I'm losing my edge to the art-school Portland 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 marimba 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 David Axelrod to the techno kids.
I played it at Cafe Wha.
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 Radiopuhelimet. All the underground hits.
All Cameo tracks. I heard you have a vinyl of every Kaleidoscope record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a theremin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Rod Modell record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rites of Spring,
A Flock of Seagulls,
Deepchord,
Audionom,
Eden Ahbez,
Frankie Knuckles,
Gabor Szabo,
The Monochrome Set,
Severed Heads,
Pylon,
Gregory Isaacs,
The Black Dice,
Pussy Galore,
Beasts of Bourbon,
The Beau Brummels,
Magazine,
Barclay James Harvest,
The Neon Judgement,
Bauhaus,
Theoretical Girls,
The Fall,
Maleditus Sound,
KRS-One,
Idris Muhammad,
Yazoo,
Jesper Dahlbäck,
Buzzcocks,
AZ,
Roy Ayers Ubiquity,
Reuben Wilson,
Jimmy McGriff,
48th St. Collective,
a-ha,
Traffic Nightmare,
The Last Poets,
Masters at Work,
Oppenheimer Analysis,
Sight & Sound,
FM Einheit,
Robert Görl,
Larry & the Blue Notes,
Maurizio,
Warsaw,
Dark Day,
The Standells,
Mo-Dettes,
Magma,
The Saints,
Parry Music,
The West Coast Pop Art Experimental Band,
Sad Lovers and Giants,
The Music Machine,
Eric Copeland,
Kaleidoscope,
Faust,
Gil Scott Heron,
Captain Beefheart & His Magic Band,
Blossom Toes,
The Slits,
Boogie Down Productions,
Thompson Twins,
Pharaoh Sanders and the Fire Engines,
The Dead C,
Barry Ungar, Barry Ungar, Barry Ungar, Barry Ungar.
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.