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 Houston.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Hong Kong and Mumbai.
I'm losing my edge to the art-school Portland 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the mellotron 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 Blossom Toes to the disco 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 Charles Mingus. All the underground hits.
All Sonic Youth tracks. I heard you have a vinyl of every Andrew Ashong & Theo Parrish record on German import.
I heard that you have a white label of every seminal dance 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 clarinet and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a 10cc record.
I hear that you and your band have sold your harpsichord and bought a snare.
I hear that you and your band have sold your snare and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Model 500,
The Invisible,
Matthew Halsall,
The Cure,
The Dead C,
Boogie Down Productions,
The Sonics,
Teenage Jesus and the Jerks,
Ultimate Spinach,
Joy Division,
Alton Ellis,
Lightning Bolt,
Jeru the Damaja,
Cecil Taylor,
Smog,
Thinking Fellers Union Local 282,
Television Personalities,
ABBA,
FM Einheit,
The Seeds,
Prince Buster,
The Slits,
Eurythmics,
Bob Dylan,
Das Ding,
Joey Negro,
Harpers Bizarre,
Don Cherry,
Dead Boys,
Wally Richardson,
Susan Cadogan,
Sun City Girls,
Red Lorry Yellow Lorry,
Todd Rundgren,
Black Sheep,
Richard Hell and the Voidoids,
Magazine,
The Pop Group,
Josef K,
Pantaleimon,
The Peanut Butter Conspiracy,
Rosa Yemen,
Youth Brigade,
Jeff Lynne,
Altered Images,
The Blackbyrds,
The Techniques,
Accadde A,
Bootsy Collins,
The Litter,
The American Breed,
Sister Nancy,
Eric Dolphy,
Arthur Verocai,
New Age Steppers,
De La Soul & Jungle Brothers,
Roy Ayers,
Parry Music,
Gil Scott Heron,
Roy Ayers Ubiquity,
the Association,
Lalann,
The Mojo Men, The Mojo Men, The Mojo Men, The Mojo Men.
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.