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 Slovakia and from Madrid.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1973.
I'm losing my edge.
To all the kids in Manila and Manila.
I'm losing my edge to the art-school Portland 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the güiro sounds with much patience.
I was there when Donald Fagen 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 Swans to the jazz kids.
I played it at the 40 Watt.
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 The Litter. All the underground hits.
All The Birthday Party tracks. I heard you have a vinyl of every Art Ensemble Of Chicago 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 '70s cut and another box set from the '70s.
I hear you're buying a harpsichord and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Soft Machine record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roy Ayers Ubiquity,
Sonny Sharrock,
Alphaville,
Eve St. Jones,
Minnie Riperton,
ABBA,
Graham Central Station,
Gong,
Trumans Water,
Deakin,
Kerri Chandler,
Organ,
Jimmy McGriff,
Depeche Mode,
Faust,
The Gap Band,
Röyhkä ja Rättö ja Lehtisalo,
The Royal Family And The Poor,
Public Image Ltd.,
Freddie Wadling,
The Cosmic Jokers,
Mission of Burma,
The Mojo Men,
Danielle Patucci,
This Heat,
Rod Modell,
Loose Ends,
Don Cherry,
The Knickerbockers,
Model 500,
Donald Byrd,
Eddi Front,
World's Most,
Terry Callier,
The Men They Couldn't Hang,
D'Angelo,
Intrusion,
The Fall,
Rahsaan Roland Kirk,
Ultravox,
Outsiders,
Parry Music,
F. McDonald,
Suicide,
Kevin Saunderson,
Silicon Teens,
Junior Murvin,
Nas,
The Dave Clark Five,
Flamin' Groovies,
Electric Light Orchestra,
Sister Nancy,
Dead Boys,
Pharaoh Sanders and the Fire Engines,
KRS-One,
Scott Walker,
Robert Hood,
10cc,
Rotary Connection,
Cameo,
Siouxsie and the Banshees,
Amon Düül,
Bobbi Humphrey,
Sex Pistols, Sex Pistols, Sex Pistols, Sex Pistols.
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.