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 San Marino and from Cairo.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Sao Paulo and Accra.
I'm losing my edge to the art-school Paris 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 1976 at the first Chic practice in a loft in New York.
I was working on the marimba sounds with much patience.
I was there when Lou Reed 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 Camberwell Now to the rock 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 Skarface. All the underground hits.
All Albert Ayler tracks. I heard you have a vinyl of every Vladislav Delay 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 '90s.
I hear you're buying a spring reverb and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Smog record.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Sonics,
Barbara Tucker,
Gabor Szabo,
The Velvet Underground,
Art Ensemble Of Chicago,
Robert Wyatt,
Brick,
Black Flag,
Quadrant,
Brass Construction,
Funkadelic,
Sound Behaviour,
Ten City,
Sight & Sound,
Visionaries,LMNO, T- Love & Iriscience,
Roger Hodgson,
Theoretical Girls,
Judy Mowatt,
Pharaoh Sanders and the Fire Engines,
Yazoo,
The Dave Clark Five,
Danielle Patucci,
EPMD,
Lakeside,
The Knickerbockers,
Pierre Henry,
Radiopuhelimet,
Wire,
Freddie Wadling,
Electric Light Orchestra,
Junior Murvin,
Black Sheep,
Malaria!,
The United States of America,
Ronnie Foster,
The Wake,
The Fall,
Unrelated Segments,
Flipper,
Dr. Dre and Snoop Doggy Dog,
Japan,
The Music Machine,
Rufus Thomas,
Kenny Larkin,
Tres Demented,
Sam Rivers,
Todd Terry,
Donald Byrd,
Al Stewart,
Oppenheimer Analysis,
Underground Resistance,
Main Source,
The Fugs,
Von Mondo,
James Chance & The Contortions,
Slick Rick,
Gastr Del Sol,
Harry Pussy,
Deepchord, Deepchord, Deepchord, Deepchord.
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.