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 Ivory Coast and from Tokyo.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Madrid and Jakarta.
I'm losing my edge to the art-school Lyon 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 arpeggiator sounds with much patience.
I was there when Tom Verlaine 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 The Tremeloes to the techno 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 Television Personalities. All the underground hits.
All Patti Smith tracks. I heard you have a vinyl of every New Order 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 '70s.
I hear you're buying an organ and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a James Chance & The Contortions record.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rakim,
Sun City Girls,
Bush Tetras,
Sex Pistols,
Kerri Chandler,
Soul Sonic Force,
The Kinks,
The Blues Magoos,
Young Marble Giants,
Eric B and Rakim,
Unrelated Segments,
Model 500,
Letta Mbulu,
Arcadia,
Lindisfarne,
Qualms,
Malaria!,
Sunsets and Hearts,
The Sound,
Erasure,
Nation of Ulysses,
Cecil Taylor,
Lizzy Mercier Descloux,
Desert Stars,
Stockholm Monsters,
Crispian St. Peters,
8 Eyed Spy,
The Leaves,
X-101,
Alphaville,
Thee Headcoats,
Eddi Front,
The J.B.'s,
Ajijia Myrayebe,
Aaron Thompson,
Bang on a Can All-Stars,
New York Dolls,
Anthony Braxton,
Yusef Lateef,
Eric Dolphy,
Loose Ends,
The Velvet Underground,
The Five Americans,
Carl Craig,
Kaleidoscope,
The Monochrome Set,
The Motions,
Gong,
The Doors,
Rhythim Is Rhythim,
June Days,
Cymande,
Tres Demented,
Derrick Morgan,
Glenn Branca,
Heavy D & The Boyz,
June of 44,
Mo-Dettes,
Radio Birdman,
Arthur Verocai,
Amon Düül II,
Sonny Sharrock,
DeepChord presents Echospace,
Essential Logic, Essential Logic, Essential Logic, Essential Logic.
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.