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 Congo and from London.
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 1967 to 1977.
I'm losing my edge.
To all the kids in Lyon and Woodstock.
I'm losing my edge to the art-school Bremen 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the organ 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 Althea and Donna to the jazz kids.
I played it at the Hacienda.
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 Oppenheimer Analysis. All the underground hits.
All Adolescents tracks. I heard you have a vinyl of every X-Ray Spex record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a harpsichord and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Stockholm Monsters record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sam Rivers,
Delta 5,
Country Teasers,
Amon Düül,
The Techniques,
Kango’s Stein Massive,
Todd Rundgren,
Strawberry Alarm Clock,
Warsaw,
Tropical Tobacco,
Soul II Soul,
Swans,
Jeru the Damaja,
Godley & Creme,
Pole,
Mary Jane Girls,
Sexual Harrassment,
The Saints,
Glambeats Corp.,
Cluster,
The Gories,
Sex Pistols,
Nik Kershaw,
Stereo Dub,
Ash Ra Tempel,
Sällskapet,
The Pop Group,
Fat Boys,
Motorama,
The Human League,
The Index,
Pharoah Sanders,
The Birthday Party,
Robert Wyatt,
Deadbeat,
Dead Boys,
Lower 48,
Gastr Del Sol,
Lucky Dragons,
Rotary Connection,
Cymande,
Funky Four + One,
Jacques Brel,
T.S.O.L.,
Khruangbin,
Magazine,
Bobby Hutcherson,
Au Pairs,
Nation of Ulysses,
UT,
Suburban Knight,
The Stooges,
Selector Dub Narcotic,
Curtis Mayfield,
Super Lover Cee & Casanova Rud,
The Misunderstood,
Yusef Lateef,
Sparks,
Graham Central Station,
Gabor Szabo,
Excepter,
Agitation Free,
Deepchord,
Hashim,
De La Soul & Jungle Brothers, De La Soul & Jungle Brothers, De La Soul & Jungle Brothers, De La Soul & Jungle Brothers.
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.