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 Algeria and from Philadelphia.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Madrid and Bologna.
I'm losing my edge to the art-school Tehran 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 arpeggiator sounds with much patience.
I was there when Michael McDonald 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 Pantaleimon to the disco kids.
I played it at CBGB's.
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 Cabaret Voltaire. All the underground hits.
All Slave tracks. I heard you have a vinyl of every In Retrospect record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an oboe and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Gil Scott Heron record.
I hear that you and your band have sold your marimba and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-102,
Main Source,
LL Cool J,
The Skatalites,
Cluster,
The Blackbyrds,
Bootsy's Rubber Band,
John Cale,
Fear,
Arthur Verocai,
Camouflage,
Drive Like Jehu,
Intrusion,
Kool G Rap & DJ Polo,
Andrew Ashong & Theo Parrish,
Johnny Clarke,
Toni Rubio,
Marmalade,
Can,
Bizarre Inc.,
New Order,
the Swans,
Joy Division,
Lee Hazlewood,
Liaisons Dangereuses,
Trumans Water,
Dawn Penn,
Massinfluence,
Sun Ra,
Girls At Our Best!,
Animal Collective,
Talk Talk,
A Flock of Seagulls,
Bobbi Humphrey,
Simply Red,
Lou Reed & Metallica,
Ohio Players,
Second Layer,
Dark Day,
The Invisible,
Pierre Henry,
The Gories,
Jeru the Damaja,
Darondo,
the Bar-Kays,
Fugazi,
Silicon Teens,
Parry Music,
Dorothy Ashby,
Accadde A,
Flipper,
Icehouse,
Sixth Finger,
Harpers Bizarre,
Neu!,
Funkadelic,
Lalann,
Terry Callier,
Wire,
Max Romeo,
The Fugs,
Michelle Simonal, Michelle Simonal, Michelle Simonal, Michelle Simonal.
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.