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 Poland and from Mexico City.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1978.
I'm losing my edge.
To all the kids in Paris and Bremen.
I'm losing my edge to the art-school Houston 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 theremin 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 Amazonics to the funk kids.
I played it at the Roxy.
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 Dorothy Ashby. All the underground hits.
All Ken Boothe tracks. I heard you have a vinyl of every Judy Mowatt 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 '60s cut and another box set from the '70s.
I hear you're buying a rhodes and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Sarah Menescal record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Barrington Levy,
Unwound,
X-102,
OOIOO,
Scientists,
Max Romeo,
the Human League,
Susan Cadogan,
A Flock of Seagulls,
Monolake,
Soulsonic Force,
New Age Steppers,
Gang Green,
Robert Hood,
David Bowie,
Soul Sonic Force,
Chris & Cosey,
Radiopuhelimet,
Teenage Jesus and the Jerks,
Swell Maps,
Eli Mardock,
The Litter,
Animal Collective,
Marcia Griffiths,
Wally Richardson,
Ohio Players,
The Blues Magoos,
Bobby Womack,
Lizzy Mercier Descloux,
Crash Course in Science,
Iggy Pop,
Stockholm Monsters,
James White and The Blacks,
Wasted Youth,
F. McDonald,
Crispy Ambulance,
Rhythm & Sound,
Pantytec,
Camouflage,
Pylon,
Marvin Gaye,
Liaisons Dangereuses,
Silicon Teens,
Sugar Minott,
Subhumans,
the Bar-Kays,
Minor Threat,
David Axelrod,
Magazine,
The Pop Group,
Blake Baxter,
Dave Gahan,
PIL,
Public Image Ltd.,
Leonard Cohen,
Red Lorry Yellow Lorry,
Tommy Roe,
Darondo,
The Trojans,
Kool G Rap & DJ Polo,
Nas,
Shuggie Otis, Shuggie Otis, Shuggie Otis, Shuggie Otis.
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.