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 Kiribati and from Lille.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1976.
I'm losing my edge.
To all the kids in Bologna and Houston.
I'm losing my edge to the art-school Seoul 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 Robert Palmer 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 Al Stewart to the punk kids.
I played it at the Roxy.
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 Bizarre Inc.. All the underground hits.
All B.T. Express tracks. I heard you have a vinyl of every The Monochrome Set record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a linndrum and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Black Moon 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?
Rakim,
The Count Five,
Boredoms,
Louis and Bebe Barron,
Clear Light,
Jandek,
EPMD,
The Music Machine,
Jacob Miller,
Sun Ra Arkestra,
The Gap Band,
The Fuzztones,
Lonnie Liston Smith,
Ultramagnetic MC's,
Marmalade,
Magazine,
The Alarm Clocks,
Circle Jerks,
Donny Hathaway,
Avey Tare & Kría Brekkan,
Silicon Teens,
Neil Young & Crazy Horse,
The Fugs,
The Walker Brothers,
B.T. Express,
The Men They Couldn't Hang,
Cal Tjader,
Don Cherry,
Graham Central Station,
Gil Scott Heron,
Ken Boothe,
Fatback Band,
Bobby Hutcherson,
The Cowsills,
Sugar Minott,
Slave,
Fugazi,
Adolescents,
Fluxion,
Wally Richardson,
The Knickerbockers,
Boogie Down Productions,
The Neon Judgement,
Oneida,
Lou Reed & John Cale,
Lindisfarne,
Livin' Joy,
Derrick May,
Sex Pistols,
John Holt,
Bluetip,
Drive Like Jehu,
Mandrill,
Deepchord,
Gichy Dan,
Anakelly,
The Litter,
Kas Product,
Big Daddy Kane,
Hardrive,
Roy Ayers,
Traffic Nightmare,
Sarah Menescal, Sarah Menescal, Sarah Menescal, Sarah Menescal.
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.