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 Fiji and from Delhi.
But I was there.
I was there in 1976.
I was there at the first Chic 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 1961 to 1970.
I'm losing my edge.
To all the kids in Copenhagen and London.
I'm losing my edge to the art-school Columbus 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 marimba sounds with much patience.
I was there when Captain Beefheart 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 Albert Ayler to the techno kids.
I played it at the Troubador.
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 Notorious Big And Bone Thugs. All the underground hits.
All The Techniques tracks. I heard you have a vinyl of every Quadrant 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 '70s cut and another box set from the '70s.
I hear you're buying an oboe and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a E-Dancer record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Remains,
Alison Limerick,
Donald Byrd,
Sun Ra,
Mary Jane Girls,
MC5,
The Velvet Underground,
Grandmaster Flash and the Furious Five,
Mo-Dettes,
Sun City Girls,
Fad Gadget,
Electric Light Orchestra,
Television,
Traffic Nightmare,
Sugar Minott,
Marc Romboy vs. Booka Shade,
Todd Terry,
Bootsy's Rubber Band,
Y Pants,
Gil Scott-Heron & Brian Jackson,
Country Joe & The Fish,
Second Layer,
Circle Jerks,
John Coltrane,
Lightning Bolt,
Pussy Galore,
Orchestral Manoeuvres in the Dark,
Girls At Our Best!,
Bad Manners,
The Fortunes,
L. Decosne,
Ohio Players,
KRS-One,
Kenny Larkin,
The Shadows of Knight,
X-102,
K-Klass,
Quantec,
Spoonie Gee,
Essential Logic,
Michelle Simonal,
Motorama,
The Durutti Column,
Tres Demented,
Sound Behaviour,
Röyhkä ja Rättö ja Lehtisalo,
Khruangbin,
Gian Franco Pienzio,
Bobby Womack,
Silicon Teens,
Black Bananas,
Procol Harum,
Unwound,
Boredoms,
Rowland S Howard / Lydia Lunch,
Kerrie Biddell,
EPMD,
Japan,
Ice-T,
Jeru the Damaja,
Swans,
Lungfish,
Pere Ubu, Pere Ubu, Pere Ubu, Pere Ubu.
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.