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 San Marino and from Calgary.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 Bologna and New York.
I'm losing my edge to the art-school Toronto 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the marimba 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 Lafayette Afro Rock Band to the rock kids.
I played it at Trash.
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 Mantronix. All the underground hits.
All Nik Kershaw tracks. I heard you have a vinyl of every Slave record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a clarinet and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a James Chance & The Contortions record.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear that you and your band have sold your sitar 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?
Don Cherry,
Gregory Isaacs,
Toni Rubio,
Minor Threat,
Nik Kershaw,
Rosa Yemen,
Anthony Braxton,
Terror Squad Feat. Camron,
The United States of America,
X-102,
Drexciya,
Leonard Cohen,
Dennis Brown,
Fad Gadget,
the Germs,
Heavy D & The Boyz,
Thompson Twins,
Soulsonic Force,
Con Funk Shun,
Teenage Jesus and the Jerks,
New York Dolls,
Nas,
Glenn Branca,
Lou Reed,
Ituana,
The Sonics,
Spandau Ballet,
Smog,
Harmonia,
Barrington Levy,
The Remains,
Sixth Finger,
Pierre Henry,
Skaos,
John Coltrane,
Grandmaster Flash,
Dead Boys,
Scott Walker + Sunn O))),
Charles Mingus,
Chris Corsano,
Suburban Knight,
Steve Hackett,
Kings Of Tomorrow,
The Fall,
Ten City,
The Blues Magoos,
The Mighty Diamonds,
Avey Tare & Kría Brekkan,
In Retrospect,
The Shadows of Knight,
Todd Rundgren,
The Smoke,
MC5,
Little Man,
Electric Light Orchestra,
Yazoo,
Mr. Review,
Popol Vuh,
Chris & Cosey,
DeepChord presents Echospace,
K-Klass,
Vaughan Mason & Crew,
The West Coast Pop Art Experimental Band,
Traffic Nightmare, Traffic Nightmare, Traffic Nightmare, Traffic Nightmare.
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.