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 United States and from Tokyo.
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 1960 to 1977.
I'm losing my edge.
To all the kids in London and Toronto.
I'm losing my edge to the art-school Accra 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the marimba sounds with much patience.
I was there when Tom Verlaine 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 The Chocolate Watch Band to the disco kids.
I played it at the Crocodile.
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 Infiniti. All the underground hits.
All Talk Talk tracks. I heard you have a vinyl of every Eyeless In Gaza record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a sitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Fifty Foot Hose record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Donny Hathaway,
Black Flag,
Boogie Down Productions,
The Peanut Butter Conspiracy,
Minutemen,
Sixth Finger,
Lebanon Hanover,
Traffic Nightmare,
Whodini,
Skarface,
Patti Smith,
Siglo XX,
Bush Tetras,
Radio Birdman,
The West Coast Pop Art Experimental Band,
Stetsasonic,
Theoretical Girls,
Jimmy McGriff,
CMW,
Pulsallama,
Loose Ends,
Tubeway Army,
The Cure,
Judy Mowatt,
Roger Hodgson,
Pharoah Sanders,
The Golliwogs,
Terry Callier,
London Community Gospel Choir,
David McCallum,
Cluster,
Joey Negro,
Rahsaan Roland Kirk,
Avey Tare's Slasher Flicks,
Dual Sessions,
Infiniti,
The United States of America,
Fort Wilson Riot,
The Birthday Party,
Lucky Dragons,
The Tremeloes,
Hardrive,
Model 500,
Banda Bassotti,
Joyce Sims,
Gerry Rafferty,
Jacques Brel,
Japan,
Nation of Ulysses,
The Divine Comedy,
Peter & Gordon,
Nas,
Kango’s Stein Massive,
Main Source,
John Holt,
Half Japanese,
Aswad,
Lizzy Mercier Descloux,
the Human League,
The Sonics,
The Gun Club,
Crispian St. Peters, Crispian St. Peters, Crispian St. Peters, Crispian St. Peters.
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.