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 Niger and from Spokane.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1978.
I'm losing my edge.
To all the kids in Winnipeg and Winnipeg.
I'm losing my edge to the art-school Jakarta 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 clarinet sounds with much patience.
I was there when Lou Reed 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 Can to the grunge 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 Inner City. All the underground hits.
All The Monks tracks. I heard you have a vinyl of every Pylon record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying an organ and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Jeff Mills record.
I hear that you and your band have sold your marimba and bought a 808.
I hear that you and your band have sold your 808 and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Busters,
Joyce Sims,
Soul II Soul,
The Five Americans,
Marc Almond,
James Chance & The Contortions,
Grandmaster Flash and the Furious Five,
Alison Limerick,
New York Dolls,
Andrew Hill,
Jawbox,
Steve Hackett,
Intrusion,
World's Most,
Sticky Fingaz feat. Raekwon,
Alice Coltrane,
Sad Lovers and Giants,
The Alarm Clocks,
Brothers Johnson,
Gang Green,
Franke,
Bill Wells,
Visionaries,LMNO, T- Love & Iriscience,
Al Stewart,
Anakelly,
X-102,
China Crisis,
Infiniti,
Ohio Players,
48th St. Collective,
Camouflage,
Donald Byrd,
The Knickerbockers,
Darondo,
The Gun Club,
Thompson Twins,
Derrick May,
Black Pus,
Mission of Burma,
Bizarre Inc.,
the Sonics,
Sound Behaviour,
Jerry Gold Smith,
The Music Machine,
Public Enemy,
UT,
Eddi Front,
Rufus Thomas,
Deadbeat,
Severed Heads,
Heaven 17,
Gastr Del Sol,
Skriet,
Loose Ends,
Jandek,
Joey Negro,
the Fania All-Stars,
Hasil Adkins,
Gichy Dan,
Major Organ And The Adding Machine,
Eric B and Rakim,
Roy Ayers,
John Cale,
Theoretical Girls, Theoretical Girls, Theoretical Girls, Theoretical Girls.
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.