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 Croatia and from Paris.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1970.
I'm losing my edge.
To all the kids in Taipei and Woodstock.
I'm losing my edge to the art-school Shanghai 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 chamberlin 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 Gary Puckett & The Union Gap to the rock 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 Bill Wells. All the underground hits.
All Blancmange tracks. I heard you have a vinyl of every Harpers Bizarre 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 '80s.
I hear you're buying an organ and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Black Dice record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Flesh Eaters,
Gil Scott-Heron & Brian Jackson,
Gang Green,
Rhythim Is Rhythim,
Connie Case,
The Standells,
LL Cool J,
Spoonie Gee,
Tom Boy,
Bobby Hutcherson,
Electric Light Orchestra,
Tres Demented,
Malaria!,
DJ Sneak,
Slave,
The Cure,
Tropical Tobacco,
Harpers Bizarre,
Jerry Gold Smith,
Sam Rivers,
Easy Going,
Fort Wilson Riot,
Shuggie Otis,
Altered Images,
Radiopuhelimet,
MC5,
Unrelated Segments,
Camberwell Now,
Unwound,
Andrew Hill,
The Pop Group,
The Associates,
The Birthday Party,
Grauzone,
K-Klass,
Marshall Jefferson,
Organ,
Heaven 17,
Vainqueur,
Kayak,
Throbbing Gristle,
Porter Ricks,
Soft Machine,
John Cale,
AZ,
Archie Shepp,
Curtis Mayfield,
The Residents,
Moss Icon,
Crash Course in Science,
Radiohead,
Wire,
E-Dancer,
the Human League,
The Searchers,
Agent Orange,
Nico,
Make Up,
The Five Americans,
Subhumans,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Marcia Griffiths,
Echospace, Echospace, Echospace, Echospace.
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.