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 Kiribati and from Philadelphia.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Lille and Jakarta.
I'm losing my edge to the art-school Seoul 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 Soft Boys practice in a loft in Cambridge.
I was working on the rhodes sounds with much patience.
I was there when Nile Rodgers 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 JFA to the funk kids.
I played it at Cafe Wha.
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 Cecil Taylor. All the underground hits.
All Avey Tare tracks. I heard you have a vinyl of every Minor Threat record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a 808 and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Mojo Men record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Minny Pops,
Peter & Gordon,
The Monks,
The Flesh Eaters,
Kas Product,
Piero Umiliani,
Minor Threat,
Robert Wyatt,
The Modern Lovers,
Bootsy Collins,
Funkadelic,
Intrusion,
CMW,
Rhythm & Sound,
London Community Gospel Choir,
Scion,
The Fuzztones,
Porter Ricks,
Howard Jones,
F. McDonald,
The Index,
The Remains,
X-101,
Orchestral Manoeuvres in the Dark,
Notorious Big And Bone Thugs,
The Raincoats,
Jimmy McGriff,
Ohio Players,
Patti Smith,
Lightning Bolt,
The Busters,
Altered Images,
Nick Fraelich,
Sparks,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Ronan,
John Cale,
Heaven 17,
Country Teasers,
The Motions,
The Electric Prunes,
Strawberry Alarm Clock,
Robert Görl,
Sarah Menescal,
Cymande,
Lakeside,
Anthony Braxton,
Eden Ahbez,
Lebanon Hanover,
Fad Gadget,
Kings Of Tomorrow,
Harpers Bizarre,
The Dirtbombs,
Nico,
Skriet,
Visage,
Con Funk Shun,
Sunsets and Hearts,
Wighnomy Brothers & Robag Wruhme,
The Seeds,
Wire,
The Blackbyrds,
Terry Callier,
Chrome, Chrome, Chrome, Chrome.
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.