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 Ghana and from Lyon.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Tehran and Halifax.
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 1976 at the first Chic practice in a loft in New York.
I was working on the oboe sounds with much patience.
I was there when Tom Verlaine 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 Charles Mingus to the disco kids.
I played it at the Spitz.
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 David Axelrod. All the underground hits.
All Bluetip tracks. I heard you have a vinyl of every It's A Beautiful Day record on German import.
I heard that you have a white label of every seminal punk 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 an organ and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Ronnie Foster record.
I hear that you and your band have sold your theremin and bought a snare.
I hear that you and your band have sold your snare and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kurtis Blow,
Lyres,
MC5,
Lungfish,
Fat Boys,
The Alarm Clocks,
Eric B and Rakim,
Soft Machine,
Lalo Schifrin,
Can,
Das Ding,
The Mojo Men,
John Coltrane,
Underground Resistance,
De La Soul & Jungle Brothers,
A Certain Ratio,
Half Japanese,
Avey Tare's Slasher Flicks,
Liliput,
X-Ray Spex,
Pharoah Sanders,
Lizzy Mercier Descloux,
Peter Gordon & Love of Life Orchestra,
Spoonie Gee,
Ultimate Spinach,
Glenn Branca,
The Young Rascals,
UT,
Terrestrial Tones,
Connie Case,
Gang Green,
Aaron Thompson,
Japan,
Chris Corsano,
Howard Jones,
Amazonics,
Rufus Thomas,
Idris Muhammad,
Tubeway Army,
Suburban Knight,
Bush Tetras,
The Electric Prunes,
The Smoke,
JFA,
Albert Ayler,
Mark Hollis,
Mad Mike,
Wasted Youth,
One Last Wish,
Country Joe & The Fish,
Thee Headcoats,
Fort Wilson Riot,
Slave,
Sun Ra,
The Invisible,
Make Up,
Lucky Dragons,
Rowland S Howard / Lydia Lunch,
Dual Sessions,
Toni Rubio,
Johnny Clarke,
Masters at Work,
Yaz,
Cameo, Cameo, Cameo, Cameo.
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.