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 Czech Republic and from Portland.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Stockholm and Paris.
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 1967 at the first Rodriguez practice in a loft in Detroit.
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 The Offenders to the rap kids.
I played it at the Crocodile.
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 Scan 7. All the underground hits.
All Harry Pussy tracks. I heard you have a vinyl of every Brand Nubian record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a chamberlin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a the Slits record.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
KRS-One,
Sly & The Family Stone,
Sight & Sound,
Bauhaus,
Mad Mike,
Peter and Kerry,
Joey Negro,
Qualms,
Carl Craig,
The Misunderstood,
Deutsch Amerikanische Freundschaft,
Erasure,
Gabor Szabo,
Camberwell Now,
The Raincoats,
Anthony Braxton,
John Coltrane,
Manfred Mann's Earth Band,
Ituana,
Orchestral Manoeuvres in the Dark,
the Soft Cell,
Jesper Dahlback,
Janne Schatter,
Black Flag,
Khruangbin,
Connie Case,
Crooked Eye,
Bootsy Collins,
A Certain Ratio,
Siglo XX,
Selector Dub Narcotic,
Liaisons Dangereuses,
Cymande,
Easy Going,
Marcia Griffiths,
Theoretical Girls,
Slick Rick,
Sad Lovers and Giants,
Susan Cadogan,
Underground Resistance,
The Gories,
The Shadows of Knight,
Rekid,
The Fall,
Sugar Minott,
Blossom Toes,
Piero Umiliani,
Aloha Tigers,
Soft Machine,
Los Fastidios,
the Normal,
Icehouse,
Beasts of Bourbon,
New York Dolls,
Outsiders,
The Alarm Clocks,
Kool G Rap & DJ Polo,
The Residents,
Suburban Knight,
Tim Buckley,
Jandek,
Technova,
It's A Beautiful Day, It's A Beautiful Day, It's A Beautiful Day, It's A Beautiful Day.
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.