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 Guinea and from Jakarta.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Lille and Halifax.
I'm losing my edge to the art-school Philadelphia 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 harpsichord 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 Yusef Lateef to the funk 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 These Immortal Souls. All the underground hits.
All Junior Murvin tracks. I heard you have a vinyl of every Thee Headcoats record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying an organ and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Unwound record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Gladiators,
The Seeds,
Guru Guru,
Loose Ends,
Bobbi Humphrey,
Todd Rundgren,
The Techniques,
Anakelly,
Thinking Fellers Union Local 282,
Juan Atkins,
Isaac Hayes,
The Evens,
Sight & Sound,
Essential Logic,
Pagans,
Jesper Dahlback,
The Litter,
Robert Görl,
Derrick Morgan,
Spandau Ballet,
Rekid,
The Mojo Men,
Art Ensemble Of Chicago,
World's Most,
Strawberry Alarm Clock,
Flipper,
Sandy B,
The Modern Lovers,
The Names,
Lungfish,
Rod Modell,
Fifty Foot Hose,
Shuggie Otis,
The Golliwogs,
Cybotron,
Neu!,
Banda Bassotti,
Toni Rubio,
Brothers Johnson,
The Happenings,
John Holt,
Darondo,
Yellowson,
Johnny Clarke,
Scientists,
B.T. Express,
Todd Terry,
James White and The Blacks,
Ken Boothe,
Bush Tetras,
Vainqueur,
The Gap Band,
Country Teasers,
PIL,
Tomorrow,
The Toasters,
K-Klass,
Minny Pops,
Bang on a Can All-Stars,
Vaughan Mason & Crew,
Orchestral Manoeuvres in the Dark,
Davy DMX,
Malaria!,
Ash Ra Tempel, Ash Ra Tempel, Ash Ra Tempel, Ash Ra Tempel.
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.