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 Andorra and from Manila.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Bologna and Toronto.
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 Bobby Womack to the crunk kids.
I played it at the Spitz.
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 Fear. All the underground hits.
All Larry & the Blue Notes tracks. I heard you have a vinyl of every Harpers Bizarre 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 '80s cut and another box set from the '70s.
I hear you're buying a rhodes and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Techniques record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tom Boy,
Mo-Dettes,
Lakeside,
Wighnomy Brothers & Robag Wruhme,
Rufus Thomas,
Skaos,
The Zeros,
Scion,
Eden Ahbez,
The Velvet Underground,
Todd Terry,
Soul Sonic Force,
Thee Headcoats,
Kool G Rap & DJ Polo,
Richard Hell and the Voidoids,
Country Teasers,
Bush Tetras,
Ken Boothe,
Masters at Work,
Siouxsie and the Banshees,
Blossom Toes,
The Angels of Light,
K-Klass,
D'Angelo,
Reuben Wilson,
The Dead C,
The Doors,
Cheater Slicks,
Eyeless In Gaza,
Nik Kershaw,
Brass Construction,
ABC,
Robert Wyatt,
Ponytail,
Lalo Schifrin,
Agent Orange,
H. Thieme,
Jesper Dahlback,
Pagans,
The Gun Club,
The Sound,
The Birthday Party,
Kauko Röyhkä ja Narttu,
Porter Ricks,
Angels of Light & Akron/Family,
Aswad,
The Saints,
The Modern Lovers,
Letta Mbulu,
Leonard Cohen,
Royal Trux,
Sixth Finger,
The Wake,
London Community Gospel Choir,
Hasil Adkins,
Lungfish,
MC5,
Symarip,
Dead Boys,
Massinfluence,
Jerry's Kids,
The Index,
Crash Course in Science, Crash Course in Science, Crash Course in Science, Crash Course in Science.
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.