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 Honduras and from New York.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1975.
I'm losing my edge.
To all the kids in Delhi and New York.
I'm losing my edge to the art-school London 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the theremin 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 Peter & Gordon to the rap 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 Archie Shepp. All the underground hits.
All Shoche tracks. I heard you have a vinyl of every Lou Reed & John Cale 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 '50s cut and another box set from the '80s.
I hear you're buying a chamberlin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Girls At Our Best! record.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bad Manners,
Minnie Riperton,
Mandrill,
The Sisters of Mercy,
Selector Dub Narcotic,
Matthew Halsall,
Liliput,
Suicide,
Cecil Taylor,
Shoche,
Charles Mingus,
The Black Dice,
Terry Callier,
The Index,
the Slits,
Gichy Dan,
Electric Prunes,
Dorothy Ashby,
Rosa Yemen,
The Gories,
Rahsaan Roland Kirk,
Rod Modell,
La Düsseldorf,
Andrew Hill,
Roy Ayers,
Pantytec,
Porter Ricks,
Cybotron,
Siglo XX,
Erasure,
Cal Tjader,
The Divine Comedy,
The Peanut Butter Conspiracy,
The Doors,
Yusef Lateef,
Nils Olav,
the Sonics,
Jerry's Kids,
Schoolly D,
The Slits,
The Mojo Men,
Moebius,
The Gun Club,
Moss Icon,
Carl Craig,
Scott Walker,
Radiohead,
Vladislav Delay,
Q and Not U,
Royal Trux,
H. Thieme,
Sight & Sound,
Jacob Miller,
Soul II Soul,
The Pretty Things,
Procol Harum,
Sly & The Family Stone,
The Standells,
June Days,
Warsaw,
Manfred Mann's Earth Band,
The Trojans,
The Golliwogs,
The Grass Roots, The Grass Roots, The Grass Roots, The Grass Roots.
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.