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 Somalia and from Hong Kong.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1962 to 1974.
I'm losing my edge.
To all the kids in Winnipeg and Lagos.
I'm losing my edge to the art-school Manila 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 snare 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 D'Angelo to the jazz kids.
I played it at CBGB's.
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 Black Pus. All the underground hits.
All Max Romeo tracks. I heard you have a vinyl of every The Fortunes 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 '50s cut and another box set from the '90s.
I hear you're buying a rhodes and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Mo-Dettes record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dark Day,
Cameo,
Lakeside,
the Slits,
Sandy B,
Ossler,
Fad Gadget,
Janne Schatter,
Magazine,
Carl Craig,
Cymande,
The Music Machine,
Little Man,
Orchestral Manoeuvres in the Dark,
Mantronix,
Ituana,
The Dirtbombs,
The Fire Engines,
John Holt,
Delon & Dalcan,
Gong,
The Count Five,
Supertramp,
Spandau Ballet,
Black Bananas,
Swell Maps,
Skaos,
La Düsseldorf,
T. Rex,
Drexciya,
Half Japanese,
Lucky Dragons,
Boz Scaggs,
Soul II Soul,
Traffic Nightmare,
Red Lorry Yellow Lorry,
Pharoah Sanders,
Public Image Ltd.,
Second Layer,
Cecil Taylor,
PIL,
Michelle Simonal,
Cal Tjader,
Liaisons Dangereuses,
John Coltrane,
E-Dancer,
Jerry's Kids,
The Kinks,
Pole,
Röyhkä ja Rättö ja Lehtisalo,
Au Pairs,
Smog,
Jesper Dahlbäck,
Eric B and Rakim,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Girls At Our Best!,
KRS-One,
Bootsy's Rubber Band,
Peter and Kerry,
Ohio Players,
The Knickerbockers,
The Dave Clark Five,
Average White Band, Average White Band, Average White Band, Average White Band.
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.