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 Singapore and from Mexico City.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Philadelphia and New York.
I'm losing my edge to the art-school Tehran 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 spring reverb sounds with much patience.
I was there when Lou Reed 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 Ornette Coleman to the punk kids.
I played it at the Astoria.
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 Throbbing Gristle. All the underground hits.
All the Bar-Kays tracks. I heard you have a vinyl of every Ash Ra Tempel record on German import.
I heard that you have a white label of every seminal dance 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 rhodes and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Mad Mike record.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear that you and your band have sold your rhodes 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?
Robert Hood,
Bobbi Humphrey,
Nick Fraelich,
Ronnie Foster,
Lou Reed,
The Move,
Sad Lovers and Giants,
Zero Boys,
The Cosmic Jokers,
Glambeats Corp.,
Index,
Country Joe & The Fish,
The Golliwogs,
Alison Limerick,
Rekid,
Pere Ubu,
Black Bananas,
Quando Quango,
Ultimate Spinach,
The Fortunes,
Q65,
Maleditus Sound,
Dorothy Ashby,
The Sound,
Suicide,
Joensuu 1685,
Anakelly,
Traffic Nightmare,
Rhythm & Sound,
Newcleus,
Röyhkä ja Rättö ja Lehtisalo,
Ornette Coleman,
Joyce Sims,
Spandau Ballet,
Notorious Big And Bone Thugs,
The Knickerbockers,
Hoover,
Boz Scaggs,
New Order,
Soft Machine,
Johnny Osbourne,
Lee Hazlewood,
The Raincoats,
The Royal Family And The Poor,
Oneida,
The Young Rascals,
Depeche Mode,
The Seeds,
B.T. Express,
Gil Scott-Heron and Jamie xx,
Model 500,
London Community Gospel Choir,
Bluetip,
Tres Demented,
Soul II Soul,
Tomorrow,
Barry Ungar,
The Litter,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
The Toasters,
Motorama,
Con Funk Shun,
Brick,
Eric Dolphy, Eric Dolphy, Eric Dolphy, Eric Dolphy.
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.