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 Austria and from Accra.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Houston and Houston.
I'm losing my edge to the art-school Seoul 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the clarinet sounds with much patience.
I was there when Nile Rodgers 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 D'Angelo to the grime kids.
I played it at CBGB's.
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 Freddie Wadling. All the underground hits.
All Mission of Burma tracks. I heard you have a vinyl of every Jeff Lynne record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an oboe and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Aaron Thompson record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Faust,
D'Angelo,
The Doors,
Bush Tetras,
Hasil Adkins,
Al Stewart,
The Associates,
Sight & Sound,
10cc,
Mark Hollis,
Qualms,
Marc Romboy vs. Booka Shade,
June Days,
Gregory Isaacs,
The Martian,
Motorama,
The Gun Club,
Reuben Wilson,
The Smoke,
Sly & The Family Stone,
Fatback Band,
Surgeon,
In Retrospect,
The Five Americans,
Louis and Bebe Barron,
Monolake,
Unrelated Segments,
David Bowie,
Peter & Gordon,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
B.T. Express,
Notorious Big And Bone Thugs,
Letta Mbulu,
Khruangbin,
Nation of Ulysses,
Lalo Schifrin,
John Coltrane,
Girls At Our Best!,
Gastr Del Sol,
E-Dancer,
KRS-One,
Orchestral Manoeuvres in the Dark,
Charles Mingus,
Hashim,
Pulsallama,
Grey Daturas,
Kerrie Biddell,
The Barracudas,
Black Bananas,
The Knickerbockers,
The Index,
Ash Ra Tempel,
Wolf Eyes,
Amon Düül,
Albert Ayler,
Crash Course in Science,
Main Source,
The Count Five,
Bizarre Inc.,
Country Joe & The Fish,
Schoolly D,
The Fuzztones, The Fuzztones, The Fuzztones, The Fuzztones.
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.