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 Costa Rica and from Tokyo.
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 1962 to 1973.
I'm losing my edge.
To all the kids in London and Halifax.
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 1975 at the first Ubu practice in a loft in Cleveland.
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 Half Japanese to the jazz kids.
I played it at the Astoria.
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 Scott Walker. All the underground hits.
All Interpol tracks. I heard you have a vinyl of every Eden Ahbez record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a guitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Jerry Gold Smith record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Donald Byrd,
Magazine,
Art Ensemble Of Chicago,
Tom Boy,
Massinfluence,
Avey Tare & Kría Brekkan,
Roy Ayers,
Be Bop Deluxe,
Reuben Wilson,
Kas Product,
Section 25,
Gang Green,
Cameo,
Heaven 17,
Jeff Mills,
Crispian St. Peters,
Bauhaus,
Albert Ayler,
Electric Prunes,
Interpol,
Liaisons Dangereuses,
Captain Beefheart & His Magic Band,
Sparks,
Young Marble Giants,
Godley & Creme,
Quadrant,
Alton Ellis,
Freddie Wadling,
The Zeros,
Pierre Henry,
Larry & the Blue Notes,
Organ,
Sunsets and Hearts,
Anakelly,
Loose Ends,
The Smoke,
the Fania All-Stars,
F. McDonald,
Swell Maps,
Danielle Patucci,
Crooked Eye,
Masters at Work,
Steve Hackett,
Gil Scott Heron,
Bad Manners,
The Mummies,
A Flock of Seagulls,
Moebius,
Yusef Lateef,
Newcleus,
Khruangbin,
Sun Ra,
The Evens,
Eric B and Rakim,
Oblivians,
Amon Düül,
The Sound,
Tomorrow,
Mark Hollis,
Hashim,
Marine Girls,
Crime,
Fela Kuti, Fela Kuti, Fela Kuti, Fela Kuti.
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.