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 Serbia and from Stockholm.
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 1961 to 1977.
I'm losing my edge.
To all the kids in New York and London.
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 1973 at the first Television practice in a loft in New York.
I was working on the mellotron 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 Ken Boothe to the funk 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 Fuzztones. All the underground hits.
All Massinfluence tracks. I heard you have a vinyl of every Albert Ayler 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 '80s cut and another box set from the '70s.
I hear you're buying a chamberlin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a the Bar-Kays 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?
Quantec,
The Litter,
Harry Pussy,
Kevin Saunderson,
Niagra,
Franke,
Swell Maps,
the Association,
The American Breed,
Drexciya,
The Mojo Men,
The Fall,
OOIOO,
Black Moon,
James White and The Blacks,
Flamin' Groovies,
Hoover,
Symarip,
Cal Tjader,
Al Stewart,
Hashim,
Sonny Sharrock,
Josef K,
The Motions,
Jacob Miller,
Reuben Wilson,
Nirvana,
Deadbeat,
The Martian,
The Monks,
Aural Exciters,
UT,
Lou Reed,
R.M.O.,
Barclay James Harvest,
Rakim,
The Divine Comedy,
Interpol,
Lalo Schifrin,
Pylon,
Yusef Lateef,
Blossom Toes,
Gregory Isaacs,
The Pretty Things,
The Mighty Diamonds,
Anthony Braxton,
Dark Day,
Sex Pistols,
Ludus,
8 Eyed Spy,
Scrapy,
Cluster,
Barbara Tucker,
Khruangbin,
The Chocolate Watch Band,
JFA,
The Velvet Underground,
Cameo,
Scratch Acid,
Little Man,
The Invisible, The Invisible, The Invisible, The Invisible.
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.