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 Jordan and from Columbus.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Spokane and Mumbai.
I'm losing my edge to the art-school London 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 Holger Czukay 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 Ronan to the funk 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 Hashim. All the underground hits.
All Clear Light tracks. I heard you have a vinyl of every Dead Boys record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a theremin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Kurtis Blow record.
I hear that you and your band have sold your oboe and bought a güiro.
I hear that you and your band have sold your güiro and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Saints,
Saccharine Trust,
Alton Ellis,
Avey Tare's Slasher Flicks,
Siouxsie and the Banshees,
Rekid,
Agent Orange,
Skarface,
The Fugs,
Lou Reed,
Warsaw,
Bobbi Humphrey,
Stereo Dub,
the Slits,
Notorious Big And Bone Thugs,
Spandau Ballet,
Bronski Beat,
Isaac Hayes,
Unwound,
The Offenders,
The Walker Brothers,
Bobby Sherman,
H. Thieme,
Basic Channel,
Roy Ayers Ubiquity,
Accadde A,
Wolf Eyes,
Notorious BIG live in Amsterdam,
John Holt,
The Pretty Things,
The Gun Club,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Stooges,
Index,
The Names,
Johnny Clarke,
Slave,
T.S.O.L.,
Aaron Thompson,
Lou Reed & Metallica,
Youth Brigade,
Oppenheimer Analysis,
The Count Five,
Major Organ And The Adding Machine,
Quando Quango,
Sarah Menescal,
Davy DMX,
Ash Ra Tempel,
The Litter,
Gang Starr,
Super Lover Cee & Casanova Rud,
Delta 5,
These Immortal Souls,
Donald Byrd,
the Bar-Kays,
Crash Course in Science,
Stockholm Monsters,
Clear Light,
Mo-Dettes,
Amon Düül,
Sun City Girls, Sun City Girls, Sun City Girls, Sun City Girls.
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.