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 Cambodia and from New York.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Mumbai and Philadelphia.
I'm losing my edge to the art-school Mexico City 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 snare sounds with much patience.
I was there when Nile Rodgers 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 Connie Case to the grime 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 Faraquet. All the underground hits.
All The West Coast Pop Art Experimental Band tracks. I heard you have a vinyl of every The Saints 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 '80s.
I hear you're buying a rhodes and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Leonard Cohen record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Monolake,
Young Marble Giants,
Ajijia Myrayebe,
Skarface,
Thompson Twins,
T. Rex,
Letta Mbulu,
Soul II Soul,
One Last Wish,
Tres Demented,
Traffic Nightmare,
The Neon Judgement,
Yusef Lateef,
Hashim,
John Lydon,
Slick Rick,
Intrusion,
Jandek,
Man Parrish,
Lee Hazlewood,
Matthew Bourne,
Michelle Simonal,
Neu!,
E-Dancer,
Sparks,
Peter and Kerry,
Jacob Miller,
Liaisons Dangereuses,
PIL,
Super Lover Cee & Casanova Rud,
The American Breed,
Shoche,
The Techniques,
The Slits,
Thee Headcoats,
Fugazi,
Gichy Dan,
10cc,
Byron Stingily,
Al Stewart,
Laurel Aitken,
Masters at Work,
Sandy B,
Dual Sessions,
Eden Ahbez,
Kas Product,
Television,
Roy Ayers,
Bobby Hutcherson,
Bill Wells,
Pete Rock & C.L. Smooth,
Scan 7,
Spandau Ballet,
The Jesus and Mary Chain,
Interpol,
Jerry Gold Smith,
L. Decosne,
The Fall,
Eurythmics,
Electric Light Orchestra,
Donald Byrd, Donald Byrd, Donald Byrd, Donald Byrd.
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.