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 Sudan and from Lyon.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Houston and Woodstock.
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 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 Notorious Big And Bone Thugs 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 The Fortunes. All the underground hits.
All Harmonia tracks. I heard you have a vinyl of every Bootsy's Rubber Band 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 '80s cut and another box set from the '70s.
I hear you're buying a guitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a R.M.O. record.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marcia Griffiths,
Visionaries,LMNO, T- Love & Iriscience,
Blossom Toes,
Ronan,
Peter & Gordon,
Black Sheep,
Soulsonic Force,
Cecil Taylor,
The Smiths,
MC5,
The Barracudas,
Glambeats Corp.,
Yazoo,
The Standells,
June of 44,
Slick Rick,
Can,
Scientists,
Malaria!,
Procol Harum,
Sun City Girls,
Quantec,
Eyeless In Gaza,
Ash Ra Tempel,
Big Daddy Kane,
Carl Craig,
The Move,
Bad Manners,
Porter Ricks,
Deadbeat,
Nils Olav,
Red Lorry Yellow Lorry,
Eric Dolphy,
Swans,
The Misunderstood,
Whodini,
Soul Sonic Force,
Gil Scott Heron,
Main Source,
ABC,
Zapp,
The J.B.'s,
Sight & Sound,
Boredoms,
Don Cherry,
Popol Vuh,
Unrelated Segments,
Franke,
Youth Brigade,
Aaron Thompson,
The Slackers,
the Soft Cell,
Terrestrial Tones,
Hashim,
Desert Stars,
Faraquet,
Pere Ubu,
Notorious Big And Bone Thugs,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
World's Most,
The Five Americans, The Five Americans, The Five Americans, The Five Americans.
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.