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 Romania and from Woodstock.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1976.
I'm losing my edge.
To all the kids in Halifax and Accra.
I'm losing my edge to the art-school Tokyo 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 rhodes 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 Infiniti to the grime 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 The Smiths. All the underground hits.
All Spandau Ballet tracks. I heard you have a vinyl of every John Coltrane 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 snare and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Notorious Big And Bone Thugs record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
L. Decosne,
The Men They Couldn't Hang,
Sight & Sound,
Harpers Bizarre,
Marc Romboy vs. Booka Shade,
Amon Düül,
Bobby Hutcherson,
Das Ding,
La Düsseldorf,
X-101,
Ituana,
Archie Shepp,
DJ Sneak,
Young Marble Giants,
Negative Approach,
Isaac Hayes,
Kool G Rap & DJ Polo,
Crispy Ambulance,
Gregory Isaacs,
Gabor Szabo,
Derrick May,
The Electric Prunes,
New Order,
Roy Ayers Ubiquity,
Sunsets and Hearts,
Excepter,
The Mojo Men,
Terry Callier,
Todd Terry,
Avey Tare's Slasher Flicks,
Robert Görl,
The Smoke,
Parry Music,
Pylon,
Deepchord,
The Sonics,
Blossom Toes,
the Fania All-Stars,
Derrick Morgan,
Mark Hollis,
Dark Day,
Bootsy's Rubber Band,
This Heat,
Ornette Coleman,
Camouflage,
Rekid,
Bill Near,
DeepChord presents Echospace,
Sällskapet,
Prince Buster,
A Flock of Seagulls,
Justin Hinds & The Dominoes,
The Barracudas,
Nils Olav,
Pierre Henry,
Gil Scott-Heron & Brian Jackson,
Duran Duran,
Tubeway Army,
Eyeless In Gaza,
Sixth Finger,
Juan Atkins,
the Bar-Kays, the Bar-Kays, the Bar-Kays, the Bar-Kays.
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.