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 Cyprus and from Salvador.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1976.
I'm losing my edge.
To all the kids in Beijing and Houston.
I'm losing my edge to the art-school Cairo 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 theremin 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 Drexciya to the dance kids.
I played it at the Astoria.
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 Second Layer. All the underground hits.
All Echo & the Bunnymen tracks. I heard you have a vinyl of every Underground Resistance record on German import.
I heard that you have a white label of every seminal disco 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 a synthesizer and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Y Pants record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Minnie Riperton,
48th St. Collective,
Drexciya,
ABC,
The Young Rascals,
Alison Limerick,
Tom Boy,
Pete Rock & C.L. Smooth,
Skarface,
The Skatalites,
the Human League,
D'Angelo,
Thee Headcoats,
Anthony Braxton,
John Holt,
Shuggie Otis,
Curtis Mayfield,
JFA,
Danielle Patucci,
Mars,
Freddie Wadling,
Negative Approach,
Sam Rivers,
Kenny Larkin,
Scan 7,
Howard Jones,
The Doors,
June of 44,
Tears for Fears,
Gerry Rafferty,
Jacob Miller,
AZ,
PIL,
cv313,
New York Dolls,
Dark Day,
Prince Buster,
Patti Smith,
Radiohead,
The Invisible,
Lindisfarne,
Derrick May,
Neil Young,
Public Enemy,
Barbara Tucker,
the Sonics,
Country Joe & The Fish,
Gregory Isaacs,
Brothers Johnson,
Mandrill,
Boredoms,
Lee Hazlewood,
Strawberry Alarm Clock,
London Community Gospel Choir,
Suicide,
Ronnie Foster,
The Angels of Light,
Colin Newman,
Al Stewart,
Cameo,
Jesper Dahlbäck,
Lakeside,
Ten City,
Blake Baxter, Blake Baxter, Blake Baxter, Blake Baxter.
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.