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 Dominica and from Toronto.
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 1974.
I'm losing my edge.
To all the kids in New York and Paris.
I'm losing my edge to the art-school Copenhagen 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the snare 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 Ornette Coleman to the dance kids.
I played it at Cafe Wha.
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 Simply Red. All the underground hits.
All Major Organ And The Adding Machine tracks. I heard you have a vinyl of every Brothers Johnson record on German import.
I heard that you have a white label of every seminal dance 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 marimba and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Yusef Lateef record.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rekid,
Marmalade,
Dave Gahan,
Amon Düül II,
Oppenheimer Analysis,
Siglo XX,
Marc Romboy vs. Booka Shade,
These Immortal Souls,
Stiv Bators,
China Crisis,
Nik Kershaw,
Tears for Fears,
Country Joe & The Fish,
The Five Americans,
The Cowsills,
Dark Day,
Slave,
Tom Boy,
Clear Light,
One Last Wish,
Colin Newman,
Richard Hell and the Voidoids,
Dorothy Ashby,
June of 44,
The United States of America,
cv313,
Visage,
the Human League,
New Order,
Sällskapet,
Janne Schatter,
Derrick May,
Kas Product,
Ituana,
Nico,
Sunsets and Hearts,
Angry Samoans,
Sandy B,
Roy Ayers,
Neu!,
Wasted Youth,
Subhumans,
Metal Thangz,
Panda Bear,
Crash Course in Science,
Popol Vuh,
Fifty Foot Hose,
Simply Red,
The Residents,
Carl Craig,
The Motions,
Bobby Womack,
Soulsonic Force,
Parry Music,
Severed Heads,
Throbbing Gristle,
Roy Ayers Ubiquity,
The Litter,
Dawn Penn,
Ornette Coleman, Ornette Coleman, Ornette Coleman, Ornette Coleman.
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.