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 Philippines and from Lagos.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Johannesburg and Madrid.
I'm losing my edge to the art-school Lagos 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the theremin sounds with much patience.
I was there when Holger Czukay 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 Sly & The Family Stone to the jazz 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 Last Poets. All the underground hits.
All The Martian tracks. I heard you have a vinyl of every Don Cherry record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a rhodes and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Roy Ayers record.
I hear that you and your band have sold your clarinet and bought a sitar.
I hear that you and your band have sold your sitar and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marvin Gaye,
Patti Smith,
Jawbox,
Parry Music,
K-Klass,
Godley & Creme,
The Dave Clark Five,
Outsiders,
Jacques Brel,
The Sound,
Avey Tare,
Nick Fraelich,
Janne Schatter,
Heaven 17,
Boredoms,
Lou Reed,
The Detroit Cobras,
Sound Behaviour,
Graham Central Station,
The Techniques,
Tomorrow,
Ice-T,
Alphaville,
Bluetip,
Juan Atkins,
Kauko Röyhkä ja Narttu,
Brass Construction,
Audionom,
Liaisons Dangereuses,
The Selecter,
48th St. Collective,
Popol Vuh,
Pantytec,
Ludus,
James White and The Blacks,
Skriet,
Bobby Byrd,
Ralphi Rosario,
Boogie Down Productions,
Monolake,
the Bar-Kays,
The Black Dice,
Anthony Braxton,
Fatback Band,
In Retrospect,
Eric B and Rakim,
DeepChord presents Echospace,
Funky Four + One,
Soulsonic Force,
Deepchord,
Pagans,
Faust,
Subhumans,
Easy Going,
This Heat,
Gastr Del Sol,
Frankie Knuckles,
The Misunderstood,
Jesper Dahlbäck,
X-101,
Anakelly, Anakelly, Anakelly, Anakelly.
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.