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 Denmark and from Lyon.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Spokane and Tehran.
I'm losing my edge to the art-school Columbus 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the harpsichord sounds with much patience.
I was there when Nile Rodgers 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 Ultra Naté to the jazz kids.
I played it at the Astoria.
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 Crispy Ambulance. All the underground hits.
All Drexciya tracks. I heard you have a vinyl of every Monolake record on German import.
I heard that you have a white label of every seminal electroclash 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 synthesizer and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Mary Jane Girls record.
I hear that you and your band have sold your clarinet and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bill Wells,
Wasted Youth,
Flash Fearless,
Soft Cell,
Agent Orange,
The Doobie Brothers,
The Chocolate Watch Band,
Patti Smith,
The Fire Engines,
Dual Sessions,
The Mojo Men,
Todd Terry,
Avey Tare,
The Move,
Bluetip,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
It's A Beautiful Day,
Yazoo,
Zapp,
Warsaw,
Excepter,
Qualms,
Drexciya,
Jawbox,
D'Angelo,
Sight & Sound,
The Litter,
Maurizio,
Susan Cadogan,
Suburban Knight,
Man Parrish,
Saccharine Trust,
The Sound,
The Associates,
Girls At Our Best!,
Spandau Ballet,
Echo & the Bunnymen,
The Misunderstood,
Crispy Ambulance,
Crooked Eye,
New York Dolls,
The West Coast Pop Art Experimental Band,
the Soft Cell,
Notorious Big And Bone Thugs,
The Real Kids,
The Buckinghams,
Gang Starr,
Derrick May,
Japan,
Sonny Sharrock,
Popol Vuh,
Fluxion,
Neu!,
Television,
Desert Stars,
Marcia Griffiths,
Sam Rivers,
Can,
Ornette Coleman, Ornette Coleman, Ornette Coleman, Ornette Coleman.
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.