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 Djibouti and from Salvador.
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 1962 to 1979.
I'm losing my edge.
To all the kids in Philadelphia and Johannesburg.
I'm losing my edge to the art-school Bologna 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 rhodes sounds with much patience.
I was there when Robert Palmer 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 Lyres to the electroclash 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 the Sonics. All the underground hits.
All The J.B.'s tracks. I heard you have a vinyl of every Reuben Wilson record on German import.
I heard that you have a white label of every seminal grime 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 mellotron and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Shadows of Knight record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sparks,
Main Source,
Art Ensemble Of Chicago,
Procol Harum,
Soft Cell,
Thee Headcoats,
The Peanut Butter Conspiracy,
Au Pairs,
Donald Byrd,
The Red Krayola,
The Happenings,
Loose Ends,
The Walker Brothers,
Fluxion,
The Mummies,
Graham Central Station,
Sunsets and Hearts,
Lizzy Mercier Descloux,
cv313,
Q65,
Mars,
Kayak,
Bobby Byrd,
Hoover,
Underground Resistance,
Rahsaan Roland Kirk,
Dorothy Ashby,
It's A Beautiful Day,
Sonny Sharrock,
Model 500,
Ornette Coleman,
Boogie Down Productions,
Bobby Sherman,
Unwound,
Mantronix,
World's Most,
Jacques Brel,
T.S.O.L.,
The Names,
Curtis Mayfield,
Severed Heads,
Man Eating Sloth,
Ituana,
Index,
The Pretty Things,
Jesper Dahlbäck,
Jeru the Damaja,
Slick Rick,
Althea and Donna,
The Durutti Column,
DeepChord presents Echospace,
Radiopuhelimet,
The Slackers,
Selector Dub Narcotic,
Deutsch Amerikanische Freundschaft,
Juan Atkins,
Visage,
The Monochrome Set,
Heavy D & The Boyz,
Jeff Mills,
The Royal Family And The Poor,
Interpol,
Blossom Toes, Blossom Toes, Blossom Toes, Blossom Toes.
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.