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 Laos and from Winnipeg.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 Philadelphia and Tehran.
I'm losing my edge to the art-school Sao Paulo 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 1976 at the first Chic practice in a loft in New York.
I was working on the theremin sounds with much patience.
I was there when Tom Verlaine 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 Soul II Soul to the techno 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 Justin Hinds & The Dominoes. All the underground hits.
All The Associates tracks. I heard you have a vinyl of every Albert Ayler 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 '70s cut and another box set from the '70s.
I hear you're buying a mellotron and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a DJ Style record.
I hear that you and your band have sold your theremin and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Spoonie Gee,
Eve St. Jones,
Alice Coltrane,
David McCallum,
T. Rex,
Magazine,
The Shadows of Knight,
The Blues Magoos,
Boredoms,
Inner City,
The Skatalites,
Barry Ungar,
Echo & the Bunnymen,
The Music Machine,
One Last Wish,
Animal Collective,
Saccharine Trust,
Grauzone,
Sun Ra Arkestra,
Junior Murvin,
The Kinks,
The Sonics,
Peter and Kerry,
Arab on Radar,
The United States of America,
DJ Style,
Robert Görl,
Letta Mbulu,
Qualms,
Barclay James Harvest,
Sugar Minott,
The Fugs,
Bang On A Can,
Siouxsie and the Banshees,
Bang on a Can All-Stars,
Gary Puckett & The Union Gap,
Sex Pistols,
the Association,
Urselle,
Deutsch Amerikanische Freundschaft,
The Names,
Amazonics,
Visage,
Swans,
Ronnie Foster,
Sight & Sound,
Hashim,
Jesper Dahlback,
Silicon Teens,
Minny Pops,
Cluster,
Dawn Penn,
Harpers Bizarre,
Audionom,
Bill Near,
The Index,
Sällskapet,
Dennis Brown,
The Litter,
James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions.
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.