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 Ethiopia and from Portland.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 Manila and Stockholm.
I'm losing my edge to the art-school Toronto 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 marimba 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 The Evens to the rap 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 Johnny Clarke. All the underground hits.
All Skarface tracks. I heard you have a vinyl of every The Names record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a spring reverb and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Magazine record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kool G Rap & DJ Polo,
Lou Reed,
Babytalk,
Brass Construction,
The Wake,
Amon Düül,
Pussy Galore,
Liliput,
Byron Stingily,
Bootsy Collins,
Porter Ricks,
Pulsallama,
London Community Gospel Choir,
Chris & Cosey,
ABC,
The Index,
David McCallum,
Sandy B,
The Divine Comedy,
Rahsaan Roland Kirk,
Quando Quango,
Urselle,
Kevin Saunderson,
The Misunderstood,
Wire,
The Monks,
Motorama,
Fatback Band,
R.M.O.,
Gastr Del Sol,
The Fortunes,
the Normal,
Malaria!,
Jesper Dahlback,
the Soft Cell,
K-Klass,
Yellowson,
The Move,
Althea and Donna,
Jerry Gold Smith,
Kerri Chandler,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Wolf Eyes,
The Angels of Light,
The Cure,
Pet Shop Boys,
Sad Lovers and Giants,
Dorothy Ashby,
Lee Hazlewood,
Kango’s Stein Massive,
Los Fastidios,
John Holt,
Sam Rivers,
Captain Beefheart & His Magic Band,
Jeff Mills,
Gang Starr,
Unrelated Segments,
ABBA, ABBA, ABBA, ABBA.
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.