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 Slovakia and from Tokyo.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Delhi and Spokane.
I'm losing my edge to the art-school Paris 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 chamberlin 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 Young Marble Giants to the funk 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 Bush Tetras. All the underground hits.
All Archie Shepp tracks. I heard you have a vinyl of every Boredoms 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 '80s.
I hear you're buying a rhodes and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Pierre Henry record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator 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?
The Gap Band,
Pierre Henry,
Basic Channel,
Depeche Mode,
Janne Schatter,
Andrew Hill,
cv313,
Little Man,
DJ Sneak,
The Skatalites,
Ossler,
Maleditus Sound,
The American Breed,
Niagra,
Bob Dylan,
The Angels of Light,
Cal Tjader,
JFA,
Moss Icon,
Alice Coltrane,
The Slackers,
The Gun Club,
Dead Boys,
Richard Hell and the Voidoids,
Ralphi Rosario,
New Age Steppers,
Cameo,
Subhumans,
Ponytail,
Traffic Nightmare,
Bill Near,
Electric Prunes,
Animal Collective,
Kool Moe Dee,
The Index,
Eric B and Rakim,
Sarah Menescal,
Harry Pussy,
Wolf Eyes,
Thee Headcoats,
Hashim,
Rod Modell,
In Retrospect,
CMW,
Grauzone,
Rites of Spring,
Jimmy McGriff,
Arthur Verocai,
Von Mondo,
Chrome,
Buzzcocks,
Minnie Riperton,
De La Soul & Jungle Brothers,
Television,
The Happenings,
DeepChord presents Echospace,
The Busters,
Wings,
Neu!,
Magma,
Barbara Tucker,
Sonny Sharrock, Sonny Sharrock, Sonny Sharrock, Sonny Sharrock.
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.