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 Croatia and from Toronto.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1970.
I'm losing my edge.
To all the kids in Delhi and Hong Kong.
I'm losing my edge to the art-school Mexico City 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the rhodes 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 MDC to the disco 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 Pharoah Sanders. All the underground hits.
All Girls At Our Best! tracks. I heard you have a vinyl of every Beasts of Bourbon record on German import.
I heard that you have a white label of every seminal jazz 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 a spring reverb and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Organ record.
I hear that you and your band have sold your arpeggiator and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Schoolly D,
The Trojans,
Dawn Penn,
Con Funk Shun,
Albert Ayler,
Faraquet,
Ultramagnetic MC's,
Pete Rock & C.L. Smooth,
Excepter,
Scratch Acid,
The Fuzztones,
Big Daddy Kane,
The Blues Magoos,
Brick,
The Saints,
Oneida,
Kango’s Stein Massive,
Lee Hazlewood,
T.S.O.L.,
Royal Trux,
John Cale,
Matthew Halsall,
Soul Sonic Force,
Fear,
Roy Ayers,
Nico,
Sex Pistols,
Pantytec,
Carl Craig,
The Remains,
Erasure,
Funky Four + One,
Glenn Branca,
The Move,
Swell Maps,
The Sisters of Mercy,
Letta Mbulu,
Joey Negro,
Dead Boys,
Rufus Thomas,
Pet Shop Boys,
Banda Bassotti,
De La Soul & Jungle Brothers,
Skarface,
The Doobie Brothers,
Swans,
Technova,
Adolescents,
Robert Hood,
Malaria!,
Black Flag,
Strawberry Alarm Clock,
Ken Boothe,
Silicon Teens,
Bobby Hutcherson,
The Beau Brummels,
UT,
A Certain Ratio,
Rahsaan Roland Kirk,
Marcia Griffiths,
The Gap Band,
The Gories, The Gories, The Gories, The Gories.
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.