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 Kuwait and from Bremen.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Bremen and Mexico City.
I'm losing my edge to the art-school Cairo 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 1973 at the first Television practice in a loft in New York.
I was working on the chamberlin 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 The Monks to the rock 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 Ash Ra Tempel. All the underground hits.
All Fad Gadget tracks. I heard you have a vinyl of every Ponytail record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a marimba and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Louis and Bebe Barron record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Parry Music,
The Raincoats,
the Slits,
Avey Tare & Kría Brekkan,
Sonny Sharrock,
Lebanon Hanover,
Deakin,
Lou Reed & Metallica,
Peter Gordon & Love of Life Orchestra,
Steve Hackett,
KRS-One,
Hardrive,
DJ Style,
The Birthday Party,
Slave,
The Durutti Column,
R.M.O.,
Shoche,
Brass Construction,
Gastr Del Sol,
The Associates,
David Axelrod,
Excepter,
The Velvet Underground,
Dead Boys,
Selector Dub Narcotic,
Black Flag,
James Chance & The Contortions,
Oblivians,
Lafayette Afro Rock Band,
Gabor Szabo,
Colin Newman,
Gang of Four,
DeepChord presents Echospace,
Jimmy McGriff,
The Vogues,
Rufus Thomas,
The Count Five,
Magazine,
Isaac Hayes,
Fluxion,
Gil Scott Heron,
Sam Rivers,
Motorama,
Alison Limerick,
The Black Dice,
Leonard Cohen,
Procol Harum,
James White and The Blacks,
Little Man,
Masters at Work,
Pet Shop Boys,
Ronan,
Gil Scott-Heron & Brian Jackson,
Fela Kuti,
Quadrant,
Pharaoh Sanders and the Fire Engines,
Erykah Badu,
Cabaret Voltaire,
The Pretty Things,
Maleditus Sound,
The Fall,
Ornette Coleman,
Harry Pussy, Harry Pussy, Harry Pussy, Harry Pussy.
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.