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 Moldova and from Bologna.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1979.
I'm losing my edge.
To all the kids in Jakarta and Jakarta.
I'm losing my edge to the art-school London 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the harpsichord sounds with much patience.
I was there when Donald Fagen 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 Joey Negro to the jazz 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 Echospace. All the underground hits.
All Procol Harum tracks. I heard you have a vinyl of every Technova record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a marimba and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The West Coast Pop Art Experimental Band record.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Massinfluence,
The Birthday Party,
Ohio Players,
H. Thieme,
The Move,
Sex Pistols,
The Jesus and Mary Chain,
Essential Logic,
Kurtis Blow,
Audionom,
Dorothy Ashby,
the Germs,
Minnie Riperton,
Robert Hood,
Danielle Patucci,
Selector Dub Narcotic,
The Vogues,
Dave Gahan,
The Buckinghams,
The Pop Group,
Thinking Fellers Union Local 282,
Country Joe & The Fish,
Max Romeo,
Magazine,
X-102,
Harry Pussy,
The Beau Brummels,
Black Moon,
CMW,
Drexciya,
Susan Cadogan,
Eurythmics,
Kenny Larkin,
These Immortal Souls,
Colin Newman,
Joey Negro,
Angry Samoans,
Moss Icon,
Mission of Burma,
Stiv Bators,
Electric Light Orchestra,
Boogie Down Productions,
Dead Boys,
Marcia Griffiths,
Bootsy Collins,
Jeff Mills,
Leonard Cohen,
Cheater Slicks,
Adolescents,
Sandy B,
Heaven 17,
the Association,
Aloha Tigers,
Kauko Röyhkä ja Narttu,
Faraquet,
Echo & the Bunnymen,
X-Ray Spex,
Archie Shepp,
Fad Gadget,
Soul Sonic Force,
Little Man,
Anthony Braxton, Anthony Braxton, Anthony Braxton, Anthony Braxton.
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.