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 Paraguay and from Taipei.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1971.
I'm losing my edge.
To all the kids in Philadelphia and Delhi.
I'm losing my edge to the art-school Lagos 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the synthesizer sounds with much patience.
I was there when Holger Czukay 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 Sun Ra 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 Roy Ayers. All the underground hits.
All Lafayette Afro Rock Band tracks. I heard you have a vinyl of every Dorothy Ashby 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 '60s cut and another box set from the '80s.
I hear you're buying a linndrum and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Japan record.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ken Boothe,
JFA,
Deutsch Amerikanische Freundschaft,
The Last Poets,
Au Pairs,
Fifty Foot Hose,
The Five Americans,
Echo & the Bunnymen,
Hoover,
Angels of Light & Akron/Family,
Rites of Spring,
Strawberry Alarm Clock,
Scott Walker,
Todd Terry,
The Victims,
Severed Heads,
Kayak,
Kurtis Blow,
Rotary Connection,
Sexual Harrassment,
The Move,
Byron Stingily,
DeepChord presents Echospace,
Skriet,
Tom Boy,
R.M.O.,
John Holt,
Little Man,
Minnie Riperton,
Warsaw,
David McCallum,
Roxy Music,
Kaleidoscope,
Delon & Dalcan,
The Modern Lovers,
Ten City,
Nick Cave & The Bad Seeds,
Joe Finger,
Dual Sessions,
Throbbing Gristle,
Robert Wyatt,
The Doors,
Japan,
Albert Ayler,
John Lydon,
Pierre Henry,
Steve Hackett,
Arthur Verocai,
Flash Fearless,
Beasts of Bourbon,
Amon Düül,
The Busters,
Pete Rock & C.L. Smooth,
The Martian,
Pere Ubu,
Oppenheimer Analysis,
the Soft Cell,
The Blues Magoos,
Jawbox,
Fugazi,
Scion,
The Fuzztones,
Can, Can, Can, Can.
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.