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 Venezuela and from Bologna.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Woodstock and Johannesburg.
I'm losing my edge to the art-school Tokyo 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 organ 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 H. Thieme to the electroclash 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 Subhumans. All the underground hits.
All Grandmaster Flash and the Furious Five tracks. I heard you have a vinyl of every The Victims record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Brothers Johnson 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?
Dual Sessions,
Moss Icon,
Black Moon,
Lou Reed & John Cale,
Tomorrow,
Juan Atkins,
Scientists,
Procol Harum,
Funky Four + One,
Motorama,
Easy Going,
Marmalade,
Wally Richardson,
Janne Schatter,
The Detroit Cobras,
Altered Images,
Absolute Body Control,
Fort Wilson Riot,
Joey Negro,
Brand Nubian,
Boogie Down Productions,
Clear Light,
Matthew Bourne,
Essential Logic,
The Mojo Men,
The Smoke,
Lou Reed & Metallica,
Rhythm & Sound,
The Beau Brummels,
John Cale,
Lindisfarne,
EPMD,
Joensuu 1685,
The Modern Lovers,
Glambeats Corp.,
Panda Bear,
Aaron Thompson,
Henry Cow,
The Barracudas,
Rekid,
Roy Ayers Ubiquity,
Slave,
Bobby Byrd,
Shoche,
Dead Boys,
Mars,
Unwound,
The Pop Group,
the Normal,
Minor Threat,
Mr. Review,
Fela Kuti,
Amon Düül II,
Robert Hood,
The Doors,
Monolake,
Arthur Verocai,
Fugazi,
Gian Franco Pienzio,
Black Flag,
Deadbeat,
Marcia Griffiths, Marcia Griffiths, Marcia Griffiths, Marcia Griffiths.
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.