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 Philadelphia.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1964 to 1978.
I'm losing my edge.
To all the kids in Glasgow and Copenhagen.
I'm losing my edge to the art-school Stockholm 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the snare 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 Gabor Szabo to the rap kids.
I played it at the Spitz.
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 Suburban Knight. All the underground hits.
All Black Bananas tracks. I heard you have a vinyl of every Charles Mingus record on German import.
I heard that you have a white label of every seminal crunk 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 clarinet and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Talk Talk record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Curtis Mayfield,
Sällskapet,
JFA,
Urselle,
Heavy D & The Boyz,
Talk Talk,
Minnie Riperton,
OOIOO,
Ken Boothe,
The Slits,
Marshall Jefferson,
Kool Moe Dee,
Intrusion,
Thompson Twins,
Patti Smith,
Jandek,
Gong,
Smog,
Dark Day,
Fatback Band,
Man Parrish,
La Düsseldorf,
Basic Channel,
The Pretty Things,
Art Ensemble Of Chicago,
Sun Ra Arkestra,
Max Romeo,
Spoonie Gee,
cv313,
Popol Vuh,
The Gories,
X-102,
Peter & Gordon,
Chris & Cosey,
John Lydon,
Public Image Ltd.,
Mark Hollis,
Monks,
R.M.O.,
Robert Görl,
Los Fastidios,
The Slackers,
Fad Gadget,
Henry Cow,
The Busters,
Leonard Cohen,
Oblivians,
Hashim,
Charles Mingus,
The Gladiators,
Pulsallama,
Boredoms,
Niagra,
Joyce Sims,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Funkadelic,
Juan Atkins,
Heaven 17,
8 Eyed Spy,
FM Einheit,
Whodini,
Boogie Down Productions,
Sonic Youth,
Jerry's Kids, Jerry's Kids, Jerry's Kids, Jerry's Kids.
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.