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 Comoros and from Tokyo.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1977.
I'm losing my edge.
To all the kids in Woodstock and Philadelphia.
I'm losing my edge to the art-school Edmonton 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 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 Thinking Fellers Union Local 282 to the techno 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 Juan Atkins. All the underground hits.
All Jerry's Kids tracks. I heard you have a vinyl of every Gil Scott-Heron & Brian Jackson 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 '80s.
I hear you're buying a synthesizer and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Black Dice record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Piero Umiliani,
Subhumans,
Kerrie Biddell,
The Trojans,
Althea and Donna,
Outsiders,
CMW,
Bootsy's Rubber Band,
Easy Going,
Spandau Ballet,
Jacques Brel,
Freddie Wadling,
The Martian,
The Electric Prunes,
Ken Boothe,
Connie Case,
the Human League,
Oblivians,
Sugar Minott,
Arab on Radar,
the Soft Cell,
Peter and Kerry,
The Tremeloes,
the Association,
John Coltrane,
Dr. Dre and Snoop Doggy Dog,
The Slackers,
Tommy Roe,
Japan,
Orchestral Manoeuvres in the Dark,
Q and Not U,
Panda Bear,
Roy Ayers,
Public Enemy,
DeepChord presents Echospace,
Banda Bassotti,
Jimmy McGriff,
June Days,
Ohio Players,
Ash Ra Tempel,
The Mojo Men,
Minnie Riperton,
The Monochrome Set,
Lungfish,
Letta Mbulu,
Jesper Dahlback,
Niagra,
Donald Byrd,
Glambeats Corp.,
The Kinks,
Arthur Verocai,
Fatback Band,
Loose Ends,
Fat Boys,
Grandmaster Flash,
Spoonie Gee,
Shuggie Otis,
Scott Walker,
Franke,
Jerry Gold Smith,
Pere Ubu,
Stetsasonic,
Joey Negro,
Dual Sessions, Dual Sessions, Dual Sessions, Dual Sessions.
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.