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 Bahrain and from Hong Kong.
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 1964 to 1976.
I'm losing my edge.
To all the kids in Madrid and Philadelphia.
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 Soft Boys practice in a loft in Cambridge.
I was working on the harpsichord 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 John Coltrane to the rap kids.
I played it at the 40 Watt.
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 the Association. All the underground hits.
All Idris Muhammad tracks. I heard you have a vinyl of every Sugar Minott 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 '80s cut and another box set from the '80s.
I hear you're buying a theremin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Dual Sessions record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
World's Most,
Agent Orange,
Rhythm & Sound,
Nirvana,
Janne Schatter,
Vladislav Delay,
John Holt,
Warsaw,
Tres Demented,
John Foxx,
DeepChord presents Echospace,
Clear Light,
Neil Young,
Gerry Rafferty,
June of 44,
Goldenarms,
Bizarre Inc.,
Delon & Dalcan,
John Coltrane,
Lizzy Mercier Descloux,
Ultimate Spinach,
Freddie Wadling,
Roxette,
Wasted Youth,
Peter and Kerry,
Bobbi Humphrey,
Lafayette Afro Rock Band,
Electric Light Orchestra,
Don Cherry,
Marcia Griffiths,
Qualms,
Susan Cadogan,
Nation of Ulysses,
Cymande,
A Flock of Seagulls,
Panda Bear,
Unrelated Segments,
The Raincoats,
Pantaleimon,
Sun Ra,
Piero Umiliani,
Thee Headcoats,
Mr. Review,
Fluxion,
Cecil Taylor,
The Birthday Party,
Aloha Tigers,
Lou Reed & Metallica,
The Dead C,
Pete Rock & C.L. Smooth,
Duran Duran,
The Young Rascals,
Metal Thangz,
Tomorrow,
Inner City,
Dr. Dre and Snoop Doggy Dog,
Louis and Bebe Barron,
Minor Threat,
Gong,
The Slackers,
Mars, Mars, Mars, Mars.
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.