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 Benin and from Milan.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Tokyo and Copenhagen.
I'm losing my edge to the art-school Halifax 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 clarinet sounds with much patience.
I was there when David Bowie 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 Mojo Men to the crunk 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 T.S.O.L.. All the underground hits.
All Sister Nancy tracks. I heard you have a vinyl of every Subhumans 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 '80s cut and another box set from the '90s.
I hear you're buying a spring reverb and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a ABC record.
I hear that you and your band have sold your theremin and bought a güiro.
I hear that you and your band have sold your güiro and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pantytec,
Orchestral Manoeuvres in the Dark,
JFA,
Pharoah Sanders,
World's Most,
The Remains,
Shuggie Otis,
Dorothy Ashby,
Flipper,
Von Mondo,
Monks,
Albert Ayler,
The Smiths,
Archie Shepp,
Derrick Morgan,
Ken Boothe,
Crash Course in Science,
Pole,
Glenn Branca,
Simply Red,
a-ha,
Neu!,
The Fall,
James Chance & The Contortions,
Erasure,
Rosa Yemen,
Sun Ra Arkestra,
The J.B.'s,
Soft Machine,
Pulsallama,
Sexual Harrassment,
the Soft Cell,
La Düsseldorf,
The Music Machine,
Gil Scott-Heron & Brian Jackson,
Second Layer,
Funky Four + One,
Lungfish,
Siglo XX,
Soul Sonic Force,
Eli Mardock,
Severed Heads,
Interpol,
Davy DMX,
CMW,
Delon & Dalcan,
A Flock of Seagulls,
The United States of America,
Black Flag,
Traffic Nightmare,
Jimmy McGriff,
Rhythm & Sound,
Scientists,
The Busters,
Kevin Saunderson,
Barclay James Harvest,
Anakelly,
Silicon Teens,
Q and Not U,
Ultimate Spinach,
The Skatalites, The Skatalites, The Skatalites, The Skatalites.
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.