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 Slovenia and from Tokyo.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Milan and Copenhagen.
I'm losing my edge to the art-school Salvador 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 Chic practice in a loft in New York.
I was working on the arpeggiator sounds with much patience.
I was there when Michael McDonald 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 Louis and Bebe Barron to the grunge kids.
I played it at the Astoria.
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 Jacob Miller. All the underground hits.
All Gichy Dan tracks. I heard you have a vinyl of every Glenn Branca record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Radiohead record.
I hear that you and your band have sold your theremin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Monochrome Set,
Spandau Ballet,
The Index,
Terrestrial Tones,
Donny Hathaway,
Robert Görl,
Marcia Griffiths,
Schoolly D,
Monolake,
Orchestral Manoeuvres in the Dark,
Gang Starr,
Lafayette Afro Rock Band,
The Beau Brummels,
Sight & Sound,
Cluster,
Popol Vuh,
Index,
Depeche Mode,
The Count Five,
Flipper,
Can,
Pantytec,
The Cosmic Jokers,
B.T. Express,
Sonic Youth,
Skriet,
Tommy Roe,
Bang On A Can,
Tropical Tobacco,
Marvin Gaye,
Rufus Thomas,
Grandmaster Flash,
The Offenders,
MDC,
The Zeros,
Delta 5,
Basic Channel,
Connie Case,
Eric Copeland,
Sun Ra,
Grandmaster Flash and the Furious Five,
The Invisible,
Surgeon,
Smog,
James White and The Blacks,
Quando Quango,
The Remains,
Bizarre Inc.,
Fifty Foot Hose,
The Smoke,
LL Cool J,
Swans,
Pere Ubu,
Marine Girls,
Yellowson,
CMW,
Urselle,
Porter Ricks,
Black Moon,
Supertramp,
Peter & Gordon,
Nation of Ulysses,
Big Daddy Kane, Big Daddy Kane, Big Daddy Kane, Big Daddy Kane.
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.