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 Bangladesh and from Accra.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Winnipeg and Bologna.
I'm losing my edge to the art-school Glasgow 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 at the first Suicide practice in a loft in New York.
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 Fluxion to the crunk 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 Faraquet. All the underground hits.
All The Modern Lovers tracks. I heard you have a vinyl of every Marcia Griffiths record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a spring reverb and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Jacques Brel record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kas Product,
Minutemen,
Jeru the Damaja,
Danielle Patucci,
Monolake,
Soft Machine,
Faust,
The Angels of Light,
Saccharine Trust,
Hashim,
Wings,
Lou Christie,
Neu!,
Gong,
The Birthday Party,
Michelle Simonal,
The Remains,
Heavy D & The Boyz,
Robert Wyatt,
Joy Division,
The Motions,
Maurizio,
Lungfish,
Procol Harum,
Fela Kuti,
The Velvet Underground,
London Community Gospel Choir,
Lou Reed & John Cale,
The Fortunes,
Traffic Nightmare,
James White and The Blacks,
David Axelrod,
the Soft Cell,
Electric Prunes,
Interpol,
Fat Boys,
Oneida,
Dennis Brown,
Bush Tetras,
Archie Shepp,
The Moody Blues,
Cheater Slicks,
Minny Pops,
Con Funk Shun,
Simply Red,
Mars,
Lyres,
Cybotron,
Fear,
Main Source,
Peter & Gordon,
CMW,
Avey Tare & Kría Brekkan,
Model 500,
ABBA,
Kerri Chandler,
Jandek,
Sun Ra Arkestra,
Visage,
The Smoke,
48th St. Collective,
Rod Modell,
The Mojo Men, The Mojo Men, The Mojo Men, The Mojo Men.
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.