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 Kosovo and from Lille.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Accra and Taipei.
I'm losing my edge to the art-school Salvador 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 oboe sounds with much patience.
I was there when Donald Fagen 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 Peter Gordon & Love of Life Orchestra to the funk 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 Prince Buster. All the underground hits.
All Subhumans tracks. I heard you have a vinyl of every The Smiths 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 a chamberlin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Gian Franco Pienzio record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Barry Ungar,
LL Cool J,
Bootsy's Rubber Band,
Red Lorry Yellow Lorry,
Masters at Work,
Black Pus,
Barclay James Harvest,
Spandau Ballet,
June of 44,
Henry Cow,
Alice Coltrane,
Donald Byrd,
The Flesh Eaters,
Scott Walker,
Gichy Dan,
H. Thieme,
Qualms,
Larry & the Blue Notes,
The Modern Lovers,
Angels of Light & Akron/Family,
Warren Ellis,
James White and The Blacks,
Lou Reed & John Cale,
Gang Gang Dance,
Rhythim Is Rhythim,
Al Stewart,
ABC,
the Sonics,
London Community Gospel Choir,
The Remains,
Aural Exciters,
Bronski Beat,
Grauzone,
Chrome,
Rhythm & Sound,
Cecil Taylor,
The Associates,
Half Japanese,
Swell Maps,
Piero Umiliani,
Joyce Sims,
Altered Images,
Rod Modell,
The Techniques,
Roy Ayers Ubiquity,
Malaria!,
8 Eyed Spy,
Vainqueur,
Nick Cave & The Bad Seeds,
Boogie Down Productions,
Sex Pistols,
Sister Nancy,
The Red Krayola,
Tim Buckley,
Manfred Mann's Earth Band,
The Sound,
AZ,
The Residents,
The Invisible,
Angry Samoans,
Black Moon,
Rotary Connection, Rotary Connection, Rotary Connection, Rotary Connection.
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.