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 Burundi and from Milan.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Houston and London.
I'm losing my edge to the art-school Portland 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the chamberlin sounds with much patience.
I was there when David Bowie 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 Black Bananas to the techno kids.
I played it at the 40 Watt.
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 Strawberry Alarm Clock. All the underground hits.
All Andrew Ashong & Theo Parrish tracks. I heard you have a vinyl of every Khruangbin record on German import.
I heard that you have a white label of every seminal dance 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 an arpeggiator and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Jandek record.
I hear that you and your band have sold your güiro and bought an oboe.
I hear that you and your band have sold your oboe and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eric Copeland,
CMW,
Notorious Big And Bone Thugs,
Erykah Badu,
Barclay James Harvest,
DeepChord presents Echospace,
Eyeless In Gaza,
Ludus,
Johnny Osbourne,
The Gories,
Siouxsie and the Banshees,
Gabor Szabo,
Crime,
The Martian,
Sex Pistols,
Rakim,
Sunsets and Hearts,
U.S. Maple,
Urselle,
Spandau Ballet,
Khruangbin,
Nick Fraelich,
Mo-Dettes,
Lower 48,
Judy Mowatt,
Tears for Fears,
Lou Christie,
Young Marble Giants,
Red Lorry Yellow Lorry,
Gang Gang Dance,
Sight & Sound,
New Order,
The Electric Prunes,
Letta Mbulu,
Skaos,
Vainqueur,
Roxy Music,
The Five Americans,
Soft Cell,
Gong,
The Gladiators,
The Victims,
The Mummies,
Smog,
Unrelated Segments,
The Modern Lovers,
Outsiders,
Masters at Work,
Bauhaus,
cv313,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Ituana,
Terry Callier,
The Monks,
Andrew Hill,
Oppenheimer Analysis,
Ajijia Myrayebe,
Lyres,
Radio Birdman,
Second Layer, Second Layer, Second Layer, Second Layer.
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.