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 Spain and from Madrid.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Paris and Johannesburg.
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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the mellotron sounds with much patience.
I was there when Holger Czukay 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 Shadows of Knight to the grime kids.
I played it at Cafe Wha.
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 Sam Rivers. All the underground hits.
All Art Ensemble Of Chicago tracks. I heard you have a vinyl of every Shuggie Otis record on German import.
I heard that you have a white label of every seminal rock 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 theremin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a T.S.O.L. record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eric B and Rakim,
The Music Machine,
Johnny Osbourne,
Soul Sonic Force,
Boogie Down Productions,
Moebius,
Con Funk Shun,
Mission of Burma,
Peter & Gordon,
Chris Corsano,
Make Up,
Hashim,
Half Japanese,
Dark Day,
Sugar Minott,
R.M.O.,
Dual Sessions,
Supertramp,
Guru Guru,
Harpers Bizarre,
Lalo Schifrin,
Prince Buster,
Wasted Youth,
Barclay James Harvest,
Bobby Hutcherson,
Rhythm & Sound,
Sonny Sharrock,
Tomorrow,
The Blues Magoos,
Magma,
Wighnomy Brothers & Robag Wruhme,
Gong,
Aloha Tigers,
The Black Dice,
Marc Romboy vs. Booka Shade,
Graham Central Station,
Al Stewart,
Lou Reed,
Sister Nancy,
Henry Cow,
Infiniti,
It's A Beautiful Day,
Skaos,
The Smiths,
EPMD,
Scan 7,
Wings,
Cabaret Voltaire,
Lindisfarne,
Basic Channel,
Nas,
Neil Young & Crazy Horse,
Audionom,
Glenn Branca,
Black Sheep,
The Selecter,
Tubeway Army,
Swell Maps,
DNA,
Derrick May,
Davy DMX, Davy DMX, Davy DMX, Davy DMX.
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.