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 Guatemala and from Jakarta.
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 1966 to 1978.
I'm losing my edge.
To all the kids in Beijing and Seoul.
I'm losing my edge to the art-school Columbus 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the linndrum sounds with much patience.
I was there when Nile Rodgers 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 Marvin Gaye to the grime kids.
I played it at the Hacienda.
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 Minnie Riperton. All the underground hits.
All Notorious Big And Bone Thugs tracks. I heard you have a vinyl of every Morten Harket 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 '60s cut and another box set from the '70s.
I hear you're buying a clarinet and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Tomorrow record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deepchord,
Brass Construction,
Byron Stingily,
The Real Kids,
Bad Manners,
Deakin,
Animal Collective,
The Walker Brothers,
Absolute Body Control,
Guru Guru,
Richard Hell and the Voidoids,
Albert Ayler,
Infiniti,
The Divine Comedy,
B.T. Express,
Bobbi Humphrey,
Silicon Teens,
The Count Five,
Deadbeat,
Marmalade,
Mark Hollis,
Art Ensemble Of Chicago,
The Electric Prunes,
Roger Hodgson,
Funkadelic,
Public Image Ltd.,
Vainqueur,
Ohio Players,
Arthur Verocai,
Eric B and Rakim,
Bauhaus,
Lakeside,
Barclay James Harvest,
Suburban Knight,
Minor Threat,
Lucky Dragons,
Sun Ra,
Bluetip,
Nick Fraelich,
Rhythim Is Rhythim,
Tropical Tobacco,
The Moleskins,
Rowland S Howard / Lydia Lunch,
One Last Wish,
Theoretical Girls,
Visionaries,LMNO, T- Love & Iriscience,
Saccharine Trust,
Aswad,
the Sonics,
Smog,
Johnny Osbourne,
Super Lover Cee & Casanova Rud,
Sun City Girls,
Robert Görl,
John Lydon,
Peter & Gordon,
Robert Hood,
Cybotron,
Unwound,
Jacob Miller,
AZ,
Godley & Creme,
Patti Smith, Patti Smith, Patti Smith, Patti Smith.
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.