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 Fiji and from Johannesburg.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Tokyo and Beijing.
I'm losing my edge to the art-school Philadelphia 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 1976 at the first Chic practice in a loft in New York.
I was working on the spring reverb sounds with much patience.
I was there when Lou Reed 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 Silicon Teens to the rap 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 The Velvet Underground. All the underground hits.
All Bang On A Can tracks. I heard you have a vinyl of every Essential Logic record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying an organ and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Jesper Dahlback record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
L. Decosne,
MDC,
CMW,
Scratch Acid,
Hoover,
The Martian,
Tim Buckley,
Yellowson,
Ornette Coleman,
Terry Callier,
B.T. Express,
Nation of Ulysses,
Country Joe & The Fish,
Urselle,
Bluetip,
Sandy B,
Sister Nancy,
Can,
Oblivians,
The Raincoats,
H. Thieme,
Mr. Review,
Lou Reed,
Morten Harket,
Peter and Kerry,
Fear,
Scott Walker,
Audionom,
The Royal Family And The Poor,
The Jesus and Mary Chain,
Juan Atkins,
Moby Grape,
Rotary Connection,
Neil Young,
The Monks,
Soft Machine,
Television,
The Invisible,
The Mummies,
Flash Fearless,
The Move,
The Moody Blues,
Easy Going,
Unrelated Segments,
Vaughan Mason & Crew,
Skriet,
Sarah Menescal,
Crash Course in Science,
Monks,
Jerry's Kids,
The Standells,
Procol Harum,
Hasil Adkins,
The Stooges,
Babytalk,
Los Fastidios,
Crispian St. Peters,
New York Dolls,
Dorothy Ashby,
Steve Hackett,
Average White Band,
Notorious Big And Bone Thugs,
June Days, June Days, June Days, June Days.
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.