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 Brazil and from Tokyo.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Cairo and New York.
I'm losing my edge to the art-school Milan 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 spring reverb sounds with much patience.
I was there when Lou Reed 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 Ituana to the punk kids.
I played it at Trash.
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 The Dirtbombs. All the underground hits.
All Andrew Ashong & Theo Parrish tracks. I heard you have a vinyl of every The Smoke 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 '70s cut and another box set from the '90s.
I hear you're buying a clarinet and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Nation of Ulysses record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Johnny Clarke,
The Victims,
Lafayette Afro Rock Band,
Rosa Yemen,
Joyce Sims,
Ponytail,
Kas Product,
Jeru the Damaja,
Nick Fraelich,
10cc,
Idris Muhammad,
Byron Stingily,
Mandrill,
The New Christs,
Eli Mardock,
The Neon Judgement,
Sparks,
Average White Band,
Marshall Jefferson,
Massinfluence,
Monolake,
Agent Orange,
The Slackers,
Simply Red,
Motorama,
Dorothy Ashby,
Grauzone,
Lalo Schifrin,
Silicon Teens,
Fat Boys,
Skriet,
Gian Franco Pienzio,
Ohio Players,
Spoonie Gee,
The Gladiators,
Shoche,
Lebanon Hanover,
Severed Heads,
Adolescents,
Pulsallama,
Minutemen,
Rapeman,
Kool G Rap & DJ Polo,
Radiohead,
Can,
Sly & The Family Stone,
Joensuu 1685,
Schoolly D,
Agitation Free,
Lightning Bolt,
Ituana,
Bobby Hutcherson,
Jesper Dahlback,
Yusef Lateef,
Funkadelic,
Public Enemy,
Model 500,
Jeff Mills,
Roxette,
Echospace,
These Immortal Souls,
The Cure,
Technova,
Frankie Knuckles, Frankie Knuckles, Frankie Knuckles, Frankie Knuckles.
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.