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 Jamaica and from Cairo.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1961 to 1977.
I'm losing my edge.
To all the kids in Paris and Spokane.
I'm losing my edge to the art-school Toronto 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 1973 at the first Television practice in a loft in New York.
I was working on the arpeggiator 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 Joe Finger to the punk 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 Hasil Adkins. All the underground hits.
All The Mighty Diamonds tracks. I heard you have a vinyl of every Ultra Naté record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a synthesizer and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Con Funk Shun record.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Quantec,
Pantaleimon,
Surgeon,
Funkadelic,
Can,
The Golliwogs,
Buzzcocks,
Circle Jerks,
Crooked Eye,
Juan Atkins,
David Axelrod,
Cymande,
10cc,
The Wake,
JFA,
Roxette,
Oblivians,
Bobby Hutcherson,
Larry & the Blue Notes,
Gang Green,
Porter Ricks,
Groovy Waters,
Sunsets and Hearts,
Guru Guru,
Davy DMX,
Colin Newman,
Pharaoh Sanders and the Fire Engines,
Panda Bear,
Motorama,
Sun Ra,
The Fire Engines,
Rhythm & Sound,
Nation of Ulysses,
The Durutti Column,
John Cale,
Freddie Wadling,
The Electric Prunes,
U.S. Maple,
The Cowsills,
Rufus Thomas,
Scott Walker + Sunn O))),
The Alarm Clocks,
Louis and Bebe Barron,
Niagra,
Jeff Lynne,
Khruangbin,
Procol Harum,
Camouflage,
Wolf Eyes,
The Angels of Light,
Avey Tare's Slasher Flicks,
Sam Rivers,
Blancmange,
Brass Construction,
Silicon Teens,
Camberwell Now,
The Pretty Things,
Crispian St. Peters,
Anthony Braxton,
It's A Beautiful Day,
Crime,
Urselle,
Ornette Coleman, Ornette Coleman, Ornette Coleman, Ornette Coleman.
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.