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 Togo and from Columbus.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1961 to 1976.
I'm losing my edge.
To all the kids in Accra and Delhi.
I'm losing my edge to the art-school Columbus 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 snare 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 Jesper Dahlbäck to the crunk 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 Deadbeat. All the underground hits.
All Barrington Levy tracks. I heard you have a vinyl of every Fluxion 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 '50s cut and another box set from the '70s.
I hear you're buying a clarinet and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Blake Baxter record.
I hear that you and your band have sold your marimba and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Peter & Gordon,
Cal Tjader,
The Last Poets,
The Knickerbockers,
Fela Kuti,
Dennis Brown,
Boredoms,
Khruangbin,
Grey Daturas,
Lafayette Afro Rock Band,
the Association,
Red Lorry Yellow Lorry,
Bobby Hutcherson,
The Sound,
The Cramps,
Sex Pistols,
Todd Terry,
Peter and Kerry,
Animal Collective,
Sonny Sharrock,
The Kinks,
Gil Scott-Heron and Jamie xx,
Blake Baxter,
The Dirtbombs,
Ice-T,
R.M.O.,
Ash Ra Tempel,
Delon & Dalcan,
The Gun Club,
The Pop Group,
The Dead C,
EPMD,
The Flesh Eaters,
Lindisfarne,
The Alarm Clocks,
Peter Gordon & Love of Life Orchestra,
Heavy D & The Boyz,
Louis and Bebe Barron,
Eve St. Jones,
Alton Ellis,
Thee Headcoats,
Sonic Youth,
Visage,
U.S. Maple,
Leonard Cohen,
Hardrive,
Reagan Youth,
The Seeds,
Slave,
Barry Ungar,
Gian Franco Pienzio,
Mars,
Lou Christie,
Yazoo,
Eyeless In Gaza,
Parry Music,
Throbbing Gristle,
Brass Construction,
Don Cherry,
Wings,
The Associates,
Lou Reed,
Model 500,
Vaughan Mason & Crew,
Underground Resistance, Underground Resistance, Underground Resistance, Underground Resistance.
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.