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 Macedonia and from Accra.
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 1962 to 1972.
I'm losing my edge.
To all the kids in New York and London.
I'm losing my edge to the art-school Accra 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 1973 at the first Television practice in a loft in New York.
I was working on the güiro sounds with much patience.
I was there when Lou Reed 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 Beasts of Bourbon to the grunge kids.
I played it at the 40 Watt.
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 Kaleidoscope. All the underground hits.
All Rod Modell tracks. I heard you have a vinyl of every The Smoke 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 '70s cut and another box set from the '90s.
I hear you're buying a snare and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Slackers record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Blake Baxter,
Nico,
The Tremeloes,
Hoover,
Sister Nancy,
The Sound,
The Human League,
Ajijia Myrayebe,
Cabaret Voltaire,
Sun Ra Arkestra,
Barbara Tucker,
Yazoo,
The Neon Judgement,
Bang on a Can All-Stars,
Thompson Twins,
Althea and Donna,
Tim Buckley,
Rakim,
Amazonics,
R.M.O.,
Electric Prunes,
Drexciya,
Surgeon,
These Immortal Souls,
Make Up,
The Evens,
Basic Channel,
Essential Logic,
Matthew Bourne,
Skriet,
Marvin Gaye,
Panda Bear,
Slave,
Jimmy McGriff,
Drive Like Jehu,
Sugar Minott,
Quantec,
Graham Central Station,
Nas,
Underground Resistance,
Kerrie Biddell,
Mo-Dettes,
Ultra Naté,
Fugazi,
Tom Boy,
Roy Ayers,
The Barracudas,
Minny Pops,
Lou Reed,
The Fall,
James White and The Blacks,
Mary Jane Girls,
A Flock of Seagulls,
Whodini,
Robert Wyatt,
Soulsonic Force,
Eric B and Rakim,
Pylon,
Second Layer,
D'Angelo,
Fatback Band,
Eric Copeland,
The Gap Band, The Gap Band, The Gap Band, The Gap Band.
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.