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 Burkina and from Philadelphia.
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 1977.
I'm losing my edge.
To all the kids in Taipei and Manchester.
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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the arpeggiator 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 Jimmy McGriff to the crunk kids.
I played it at Trash.
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 Eric Copeland. All the underground hits.
All Eurythmics tracks. I heard you have a vinyl of every Malaria! record on German import.
I heard that you have a white label of every seminal jazz 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 guitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Nick Cave & The Bad Seeds record.
I hear that you and your band have sold your theremin and bought a sitar.
I hear that you and your band have sold your sitar and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cal Tjader,
DJ Style,
The Men They Couldn't Hang,
Orchestral Manoeuvres in the Dark,
Ten City,
Fifty Foot Hose,
David McCallum,
Country Joe & The Fish,
Angry Samoans,
The Red Krayola,
Eli Mardock,
Spandau Ballet,
The Index,
Dead Boys,
Sugar Minott,
Stereo Dub,
Cymande,
Buzzcocks,
Funkadelic,
Sex Pistols,
Jandek,
Brick,
John Cale,
Bluetip,
Little Man,
Curtis Mayfield,
Pantaleimon,
Eric Copeland,
Tim Buckley,
The Motions,
Scan 7,
Super Lover Cee & Casanova Rud,
The United States of America,
the Normal,
Rod Modell,
Das Ding,
Selector Dub Narcotic,
The Moody Blues,
Hardrive,
Audionom,
Erasure,
Sticky Fingaz feat. Raekwon,
Second Layer,
Severed Heads,
The Doors,
Grandmaster Flash,
Lou Christie,
London Community Gospel Choir,
Echo & the Bunnymen,
Fort Wilson Riot,
Oneida,
AZ,
Mission of Burma,
Bang On A Can,
The West Coast Pop Art Experimental Band,
Roy Ayers,
the Fania All-Stars,
CMW,
Ornette Coleman,
Trumans Water,
Kevin Saunderson, Kevin Saunderson, Kevin Saunderson, Kevin Saunderson.
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.