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 Vietnam and from Paris.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Houston and Salvador.
I'm losing my edge to the art-school Tehran 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the rhodes 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 Scratch Acid to the crunk kids.
I played it at the 40 Watt.
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 New Christs tracks. I heard you have a vinyl of every Brothers Johnson 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 '80s cut and another box set from the '80s.
I hear you're buying an oboe and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Sam Rivers record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Cramps,
The Monochrome Set,
Electric Light Orchestra,
48th St. Collective,
Sex Pistols,
X-101,
Country Joe & The Fish,
Sixth Finger,
Jesper Dahlback,
Section 25,
Agitation Free,
Trumans Water,
X-102,
Donny Hathaway,
the Soft Cell,
Max Romeo,
Roger Hodgson,
Tommy Roe,
The United States of America,
DJ Style,
Peter and Kerry,
Q and Not U,
Nas,
The Cure,
June of 44,
Pantaleimon,
Barbara Tucker,
The Durutti Column,
Second Layer,
Angels of Light & Akron/Family,
The Last Poets,
The Music Machine,
Lafayette Afro Rock Band,
The Velvet Underground,
John Holt,
the Fania All-Stars,
Red Lorry Yellow Lorry,
Andrew Ashong & Theo Parrish,
Echospace,
Aaron Thompson,
Talk Talk,
Traffic Nightmare,
Barrington Levy,
Youth Brigade,
Aswad,
The Busters,
Letta Mbulu,
Ponytail,
cv313,
Deakin,
Bang on a Can All-Stars,
Selector Dub Narcotic,
June Days,
The Trojans,
Drexciya,
Mo-Dettes,
Accadde A,
Model 500,
Bang On A Can,
Yellowson,
Rapeman,
Delta 5,
Shoche, Shoche, Shoche, Shoche.
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.