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 South Africa and from Lagos.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1972.
I'm losing my edge.
To all the kids in Taipei and Portland.
I'm losing my edge to the art-school Toronto 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 spring reverb 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 Soulsonic Force to the punk kids.
I played it at the Hacienda.
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 Index. All the underground hits.
All The Residents tracks. I heard you have a vinyl of every Mandrill 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 '70s.
I hear you're buying an arpeggiator and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Andrew Hill record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kaleidoscope,
Joyce Sims,
48th St. Collective,
Michelle Simonal,
Big Daddy Kane,
Hardrive,
Kerri Chandler,
Scrapy,
Ossler,
Bush Tetras,
Bootsy's Rubber Band,
Pere Ubu,
Sandy B,
Monolake,
Chris & Cosey,
Quadrant,
Cameo,
Ronnie Foster,
Loose Ends,
Eric Copeland,
Jerry's Kids,
Electric Light Orchestra,
Johnny Osbourne,
Robert Görl,
Liaisons Dangereuses,
Louis and Bebe Barron,
Judy Mowatt,
Pylon,
Joey Negro,
Mandrill,
Brick,
Essential Logic,
The Shadows of Knight,
The Grass Roots,
Toni Rubio,
Jacob Miller,
Richard Hell and the Voidoids,
Tomorrow,
Althea and Donna,
Organ,
Clear Light,
Agitation Free,
Skaos,
Scientists,
Jeff Lynne,
The Saints,
the Association,
Soulsonic Force,
Bobby Byrd,
Moss Icon,
Altered Images,
The Cosmic Jokers,
Jesper Dahlbäck,
Pussy Galore,
Black Pus,
Rowland S Howard / Lydia Lunch,
Audionom,
Patti Smith,
Jerry Gold Smith,
Rakim,
Lafayette Afro Rock Band, Lafayette Afro Rock Band, Lafayette Afro Rock Band, Lafayette Afro Rock Band.
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.