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 Guinea-Bissau and from Madrid.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Toronto and Spokane.
I'm losing my edge to the art-school Manchester 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 1978 at the first Visage practice in a loft in London.
I was working on the chamberlin sounds with much patience.
I was there when Michael McDonald 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 Gil Scott Heron to the rap 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 Be Bop Deluxe. All the underground hits.
All Pulsallama tracks. I heard you have a vinyl of every Erykah Badu 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 '70s cut and another box set from the '90s.
I hear you're buying a mellotron and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Public Enemy record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Kinks,
Marine Girls,
Isaac Hayes,
The Mojo Men,
X-101,
The Electric Prunes,
Todd Terry,
Oblivians,
Gastr Del Sol,
Albert Ayler,
Lafayette Afro Rock Band,
Pole,
Can,
Quadrant,
Scan 7,
Mantronix,
the Sonics,
Graham Central Station,
Junior Murvin,
Tim Buckley,
Don Cherry,
Stereo Dub,
Severed Heads,
EPMD,
U.S. Maple,
Blake Baxter,
Funkadelic,
The Mummies,
Goldenarms,
Mary Jane Girls,
The Martian,
Archie Shepp,
Rhythm & Sound,
Audionom,
Altered Images,
Symarip,
Byron Stingily,
The Golliwogs,
The Cosmic Jokers,
A Flock of Seagulls,
Yusef Lateef,
D'Angelo,
Television,
The Alarm Clocks,
Delta 5,
Loose Ends,
The Black Dice,
Art Ensemble Of Chicago,
Jandek,
Talk Talk,
Louis and Bebe Barron,
Technova,
Fear,
The Cowsills,
Section 25,
Moss Icon,
Avey Tare's Slasher Flicks,
Jawbox,
The Zeros,
Eric Dolphy,
The Fall,
Eurythmics,
Rahsaan Roland Kirk, Rahsaan Roland Kirk, Rahsaan Roland Kirk, Rahsaan Roland Kirk.
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.