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 Bulgaria and from Beijing.
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 1971.
I'm losing my edge.
To all the kids in Spokane and Lagos.
I'm losing my edge to the art-school Manchester 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the clarinet sounds with much patience.
I was there when Donald Fagen 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 James Chance & The Contortions to the rap kids.
I played it at the Spitz.
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 Marshall Jefferson. All the underground hits.
All Siglo XX tracks. I heard you have a vinyl of every Matthew Halsall record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a linndrum and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Pole record.
I hear that you and your band have sold your sitar and bought a 808.
I hear that you and your band have sold your 808 and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scion,
Mandrill,
Wally Richardson,
The Royal Family And The Poor,
Camberwell Now,
Vainqueur,
One Last Wish,
Agent Orange,
Jeff Lynne,
Stiv Bators,
Big Daddy Kane,
X-102,
Glambeats Corp.,
Man Parrish,
Siouxsie and the Banshees,
Hoover,
Crispy Ambulance,
Bang On A Can,
The Techniques,
London Community Gospel Choir,
Frankie Knuckles,
Darondo,
Whodini,
Pantaleimon,
Dark Day,
New Order,
Pharaoh Sanders and the Fire Engines,
Andrew Ashong & Theo Parrish,
De La Soul & Jungle Brothers,
Public Image Ltd.,
World's Most,
Bootsy Collins,
Idris Muhammad,
The Peanut Butter Conspiracy,
Mary Jane Girls,
The Knickerbockers,
Icehouse,
Buzzcocks,
The United States of America,
Tom Boy,
Lou Reed & Metallica,
Parry Music,
Aaron Thompson,
Sixth Finger,
Porter Ricks,
Siglo XX,
Cluster,
The Trojans,
Sonny Sharrock,
Black Bananas,
The Walker Brothers,
The Index,
Graham Central Station,
Nick Cave & The Bad Seeds,
Das Ding,
Jawbox,
Cecil Taylor,
Junior Murvin,
Judy Mowatt,
The Kinks,
The Pretty Things,
Matthew Halsall,
Howard Jones,
The Selecter, The Selecter, The Selecter, The Selecter.
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.