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 Samoa and from Philadelphia.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Madrid and Edmonton.
I'm losing my edge to the art-school Manila 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 oboe 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 Tres Demented to the techno 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 Motorama. All the underground hits.
All Nils Olav tracks. I heard you have a vinyl of every Tim Buckley 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 '80s cut and another box set from the '80s.
I hear you're buying a mellotron and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Lower 48 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?
Pharaoh Sanders and the Fire Engines,
Section 25,
Crime,
Traffic Nightmare,
The Associates,
Larry & the Blue Notes,
Isaac Hayes,
T.S.O.L.,
Oblivians,
It's A Beautiful Day,
Flamin' Groovies,
Cymande,
Kurtis Blow,
Gary Puckett & The Union Gap,
Delon & Dalcan,
Maleditus Sound,
Ossler,
Leonard Cohen,
Mark Hollis,
Black Moon,
Simply Red,
Matthew Halsall,
LL Cool J,
The Barracudas,
AZ,
James White and The Blacks,
Red Lorry Yellow Lorry,
De La Soul & Jungle Brothers,
Sparks,
Radiohead,
Ituana,
Nick Fraelich,
Patti Smith,
Ajijia Myrayebe,
Delta 5,
Sandy B,
Monks,
Jerry Gold Smith,
David Bowie,
Rhythm & Sound,
Minny Pops,
Au Pairs,
FM Einheit,
The Mummies,
Sad Lovers and Giants,
Fat Boys,
Godley & Creme,
Babytalk,
The Mojo Men,
Ornette Coleman,
Alice Coltrane,
Barrington Levy,
The Busters,
Jesper Dahlbäck,
Minor Threat,
Warren Ellis,
48th St. Collective,
The United States of America,
Max Romeo,
Technova,
The Music Machine,
Grandmaster Flash,
Andrew Ashong & Theo Parrish,
Anthony Braxton,
Jacob Miller, Jacob Miller, Jacob Miller, Jacob Miller.
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.