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 Mozambique and from Bremen.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Salvador and Accra.
I'm losing my edge to the art-school Tehran 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 güiro 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 Art Ensemble Of Chicago to the electroclash kids.
I played it at the Roxy.
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 Bill Wells. All the underground hits.
All The Selecter tracks. I heard you have a vinyl of every Eric Copeland record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a harpsichord and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Sarah Menescal record.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Bar-Kays,
Neil Young & Crazy Horse,
The Cowsills,
The Dead C,
Desert Stars,
Zapp,
Franke,
Quadrant,
Scratch Acid,
The Gap Band,
ABC,
The Victims,
The Shadows of Knight,
Bluetip,
Andrew Ashong & Theo Parrish,
Warsaw,
Lonnie Liston Smith,
The Residents,
Loose Ends,
Amazonics,
Hashim,
Stockholm Monsters,
Mars,
48th St. Collective,
Monks,
David Axelrod,
The Index,
Colin Newman,
Faust,
Blake Baxter,
Nation of Ulysses,
Royal Trux,
Mark Hollis,
Moss Icon,
Morten Harket,
Joensuu 1685,
Curtis Mayfield,
Eden Ahbez,
ABBA,
Roy Ayers,
Easy Going,
Lungfish,
Avey Tare & Kría Brekkan,
Warren Ellis,
Echospace,
Prince Buster,
Jesper Dahlback,
Average White Band,
Unrelated Segments,
Severed Heads,
Symarip,
The Moody Blues,
The Offenders,
Kauko Röyhkä ja Narttu,
Frankie Knuckles,
The Walker Brothers,
Bobby Byrd,
Anthony Braxton,
Television Personalities,
Kenny Larkin, Kenny Larkin, Kenny Larkin, Kenny Larkin.
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.