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 Dominican Republic and from Sao Paulo.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Hong Kong and Paris.
I'm losing my edge to the art-school Jakarta 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 1976 at the first Chic practice in a loft in New York.
I was working on the güiro sounds with much patience.
I was there when David Bowie 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 Amon Düül to the dance kids.
I played it at Trash.
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 Anthony Braxton. All the underground hits.
All Arthur Verocai tracks. I heard you have a vinyl of every Second Layer 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 '80s.
I hear you're buying a güiro and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Alarm Clocks record.
I hear that you and your band have sold your clarinet and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kool G Rap & DJ Polo,
Hoover,
Donald Byrd,
Ornette Coleman,
The Stooges,
Mark Hollis,
Sunsets and Hearts,
Thompson Twins,
The Five Americans,
Ronan,
Mary Jane Girls,
The Royal Family And The Poor,
Second Layer,
Lucky Dragons,
Leonard Cohen,
Roy Ayers Ubiquity,
Ten City,
Orchestral Manoeuvres in the Dark,
Das Ding,
Albert Ayler,
John Cale,
The Doors,
The Mummies,
Drive Like Jehu,
ABC,
The Men They Couldn't Hang,
Rakim,
Peter and Kerry,
Cal Tjader,
Be Bop Deluxe,
Electric Prunes,
The Mojo Men,
Chris & Cosey,
FM Einheit,
Von Mondo,
The Dead C,
Max Romeo,
The Last Poets,
Alice Coltrane,
The J.B.'s,
Black Moon,
Mr. Review,
Black Sheep,
Warsaw,
Sun Ra Arkestra,
The Zeros,
Guru Guru,
Avey Tare,
Oblivians,
Schoolly D,
Joyce Sims,
Kenny Larkin,
Terry Callier,
Alton Ellis,
Boogie Down Productions,
Peter Gordon & Love of Life Orchestra,
Parry Music,
Skaos,
James Chance & The Contortions,
L. Decosne,
Lower 48,
Tres Demented,
New Order, New Order, New Order, New Order.
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.