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 Congo and from London.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Toronto and Lagos.
I'm losing my edge to the art-school Tokyo 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the güiro 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 ABC to the crunk 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 Anthony Braxton. All the underground hits.
All Icehouse tracks. I heard you have a vinyl of every Outsiders record on German import.
I heard that you have a white label of every seminal rap 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 a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Sister Nancy record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
48th St. Collective,
Thee Headcoats,
EPMD,
Soft Machine,
Young Marble Giants,
Angels of Light & Akron/Family,
It's A Beautiful Day,
Fugazi,
Rowland S Howard / Lydia Lunch,
The Fortunes,
Lalo Schifrin,
The Moody Blues,
Lou Reed & John Cale,
Patti Smith,
Scrapy,
Rhythim Is Rhythim,
Nation of Ulysses,
Camouflage,
Crispian St. Peters,
Leonard Cohen,
Lizzy Mercier Descloux,
The Martian,
David Bowie,
Popol Vuh,
The Dirtbombs,
Agent Orange,
A Certain Ratio,
John Foxx,
a-ha,
These Immortal Souls,
Dennis Brown,
Henry Cow,
The Monks,
Scan 7,
Model 500,
The Evens,
Fatback Band,
Connie Case,
Dual Sessions,
Curtis Mayfield,
Shoche,
The Mummies,
Severed Heads,
The Litter,
The Electric Prunes,
The Men They Couldn't Hang,
Visage,
Susan Cadogan,
Moss Icon,
Rahsaan Roland Kirk,
Brass Construction,
The Searchers,
Gabor Szabo,
Eyeless In Gaza,
Girls At Our Best!,
Sunsets and Hearts,
Rod Modell,
Eden Ahbez,
John Holt,
Unrelated Segments,
Avey Tare,
Throbbing Gristle,
Grauzone, Grauzone, Grauzone, Grauzone.
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.