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 Grenada and from New York.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1968 to 1977.
I'm losing my edge.
To all the kids in Manchester and Johannesburg.
I'm losing my edge to the art-school Lille 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 marimba 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 Wolf Eyes to the jazz kids.
I played it at CBGB's.
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 The Doors. All the underground hits.
All Scott Walker + Sunn O))) tracks. I heard you have a vinyl of every Rosa Yemen record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a chamberlin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Joensuu 1685 record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Mummies,
Ituana,
Khruangbin,
Althea and Donna,
Gil Scott Heron,
Don Cherry,
Rhythim Is Rhythim,
Supertramp,
Brass Construction,
The Blues Magoos,
Bad Manners,
LL Cool J,
Television,
Nick Fraelich,
Joey Negro,
Moss Icon,
Erasure,
The Vogues,
Popol Vuh,
The Moody Blues,
Cabaret Voltaire,
Sun Ra Arkestra,
Procol Harum,
Surgeon,
Sister Nancy,
The Doobie Brothers,
Danielle Patucci,
Von Mondo,
The Royal Family And The Poor,
The Gun Club,
Quantec,
Pantaleimon,
Bobby Sherman,
L. Decosne,
Goldenarms,
Pulsallama,
Visage,
Brick,
Sugar Minott,
James Chance & The Contortions,
Crash Course in Science,
the Bar-Kays,
Peter and Kerry,
In Retrospect,
Gang Green,
Rakim,
The Misunderstood,
Jimmy McGriff,
Judy Mowatt,
Aloha Tigers,
UT,
Susan Cadogan,
Negative Approach,
Sly & The Family Stone,
Toni Rubio,
Heavy D & The Boyz,
Alton Ellis,
Suburban Knight,
Groovy Waters,
The Mighty Diamonds,
Schoolly D,
The Fuzztones, The Fuzztones, The Fuzztones, The Fuzztones.
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.