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 Cambodia and from Delhi.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Paris and Spokane.
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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the organ sounds with much patience.
I was there when Captain Beefheart 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 Eric Copeland to the rap kids.
I played it at the Crocodile.
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 Public Image Ltd.. All the underground hits.
All Darondo tracks. I heard you have a vinyl of every Delon & Dalcan record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an oboe and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Erasure record.
I hear that you and your band have sold your spring reverb and bought a clarinet.
I hear that you and your band have sold your clarinet 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?
Ultra Naté,
The Techniques,
Arab on Radar,
Q65,
Brothers Johnson,
World's Most,
Main Source,
Joe Smooth,
James White and The Blacks,
Janne Schatter,
Avey Tare's Slasher Flicks,
Peter and Kerry,
Cluster,
Curtis Mayfield,
Heavy D & The Boyz,
The Detroit Cobras,
The Pop Group,
These Immortal Souls,
Fad Gadget,
Yaz,
Bobbi Humphrey,
Crash Course in Science,
Sun Ra Arkestra,
The Golliwogs,
Lower 48,
Iggy Pop,
The Evens,
Bauhaus,
Parry Music,
Colin Newman,
Duran Duran,
The Music Machine,
Larry & the Blue Notes,
Bizarre Inc.,
One Last Wish,
Eric Dolphy,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
the Soft Cell,
Porter Ricks,
Lou Reed,
Pharaoh Sanders and the Fire Engines,
Rod Modell,
The Sound,
Blancmange,
Bronski Beat,
Sex Pistols,
Blake Baxter,
Kaleidoscope,
Lafayette Afro Rock Band,
The Gap Band,
Nick Fraelich,
The Index,
Sugar Minott,
ABC,
Con Funk Shun,
Wasted Youth,
Cybotron,
Sister Nancy,
Sällskapet,
The Mojo Men,
Eve St. Jones,
Model 500,
Country Joe & The Fish, Country Joe & The Fish, Country Joe & The Fish, Country Joe & The Fish.
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.