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 Suriname and from Paris.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1968 to 1976.
I'm losing my edge.
To all the kids in Glasgow and London.
I'm losing my edge to the art-school Spokane 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 marimba sounds with much patience.
I was there when Robert Palmer 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 Tommy Roe to the rock kids.
I played it at CBGB's.
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 B.T. Express. All the underground hits.
All Donald Byrd tracks. I heard you have a vinyl of every Sam Rivers 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 '70s.
I hear you're buying a 808 and a snare and are throwing your macbook out the window because you want to make something real. You want to make a H. Thieme record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Dead C,
Kas Product,
Leonard Cohen,
Lou Christie,
The Skatalites,
Ken Boothe,
Barrington Levy,
Visionaries,LMNO, T- Love & Iriscience,
Derrick May,
Colin Newman,
Jacques Brel,
Bronski Beat,
Rhythim Is Rhythim,
Deutsch Amerikanische Freundschaft,
Maleditus Sound,
Big Daddy Kane,
The Fire Engines,
Oppenheimer Analysis,
Juan Atkins,
London Community Gospel Choir,
Blancmange,
Alison Limerick,
Wolf Eyes,
Organ,
the Sonics,
Shoche,
KRS-One,
Flash Fearless,
Public Image Ltd.,
Crime,
Cybotron,
Joyce Sims,
MDC,
Jeru the Damaja,
Sarah Menescal,
Simply Red,
The Index,
David McCallum,
Agent Orange,
Gary Puckett & The Union Gap,
Excepter,
Fear,
ABC,
Banda Bassotti,
the Normal,
Kevin Saunderson,
Sandy B,
The Stooges,
Charles Mingus,
Second Layer,
The Gap Band,
The Blues Magoos,
Pantaleimon,
Roxy Music,
Rod Modell,
Circle Jerks,
the Association,
The Mummies,
The Motions,
Peter and Kerry,
The Associates,
The Wake,
Tim Buckley, Tim Buckley, Tim Buckley, Tim Buckley.
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.