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 Colombia and from Winnipeg.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Accra and Johannesburg.
I'm losing my edge to the art-school Glasgow 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the organ 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 Big Daddy Kane to the electroclash kids.
I played it at the Troubador.
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 Aaron Thompson. All the underground hits.
All Neu! tracks. I heard you have a vinyl of every Traffic Nightmare 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 '50s cut and another box set from the '80s.
I hear you're buying a chamberlin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Bill Wells record.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Infiniti,
The Mighty Diamonds,
Barrington Levy,
Matthew Bourne,
Toni Rubio,
Notorious BIG live in Amsterdam,
The Moody Blues,
Lou Reed & Metallica,
Gil Scott-Heron & Brian Jackson,
Gil Scott-Heron and Jamie xx,
OOIOO,
The Slits,
Drive Like Jehu,
Todd Terry,
Circle Jerks,
Grandmaster Flash,
Alton Ellis,
Andrew Hill,
Marcia Griffiths,
The Shadows of Knight,
Liliput,
The Walker Brothers,
JFA,
Gian Franco Pienzio,
a-ha,
Wighnomy Brothers & Robag Wruhme,
MDC,
Massinfluence,
Kerri Chandler,
Grauzone,
Tim Buckley,
The Real Kids,
Avey Tare & Kría Brekkan,
Bronski Beat,
Super Lover Cee & Casanova Rud,
Barclay James Harvest,
Lower 48,
Gregory Isaacs,
Larry & the Blue Notes,
Deadbeat,
Fear,
Colin Newman,
Bill Near,
Archie Shepp,
The Chocolate Watch Band,
LL Cool J,
Procol Harum,
Minor Threat,
Tres Demented,
De La Soul & Jungle Brothers,
Scan 7,
The Invisible,
Alice Coltrane,
Outsiders,
The Raincoats,
James Chance & The Contortions,
Dorothy Ashby,
Chris Corsano,
Jerry Gold Smith,
The United States of America,
Quantec, Quantec, Quantec, Quantec.
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.