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 Israel and from Mexico City.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1968 to 1974.
I'm losing my edge.
To all the kids in New York and Portland.
I'm losing my edge to the art-school Jakarta 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 mellotron sounds with much patience.
I was there when Robert Palmer 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 E-Dancer to the techno kids.
I played it at the Astoria.
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 Royal Trux. All the underground hits.
All Harry Pussy tracks. I heard you have a vinyl of every Rosa Yemen record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a spring reverb and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Kerri Chandler record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lyres,
Sonic Youth,
the Human League,
The Royal Family And The Poor,
Blancmange,
The Last Poets,
Black Flag,
KRS-One,
Electric Light Orchestra,
Jerry Gold Smith,
Unwound,
Peter Gordon & Love of Life Orchestra,
DJ Style,
Donny Hathaway,
Bobby Hutcherson,
Aural Exciters,
The Birthday Party,
Soft Machine,
Masters at Work,
DNA,
Fugazi,
Wings,
Glenn Branca,
Motorama,
The Blues Magoos,
Iggy Pop,
Agent Orange,
Maurizio,
The Doors,
Sad Lovers and Giants,
Half Japanese,
Massinfluence,
Q and Not U,
The Slackers,
The Young Rascals,
the Bar-Kays,
Young Marble Giants,
Gang of Four,
Roger Hodgson,
Chris Corsano,
Whodini,
Gil Scott-Heron & Brian Jackson,
Mo-Dettes,
Funkadelic,
Byron Stingily,
Essential Logic,
Pantaleimon,
Zero Boys,
Ultimate Spinach,
The Buckinghams,
Eric Copeland,
The Gun Club,
Alison Limerick,
Lou Christie,
Accadde A,
Gil Scott Heron,
Eurythmics,
Barbara Tucker,
The Zeros,
Jesper Dahlbäck,
World's Most,
Lindisfarne,
Nils Olav,
The American Breed, The American Breed, The American Breed, The American Breed.
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.