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 Tuvalu and from Edmonton.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Tokyo and Tehran.
I'm losing my edge to the art-school Columbus 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the mellotron sounds with much patience.
I was there when Captain Beefheart 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 Jeff Mills to the jazz 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 Mars. All the underground hits.
All Soul II Soul tracks. I heard you have a vinyl of every Ohio Players 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 '80s.
I hear you're buying a chamberlin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Aaron Thompson 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?
Visionaries,LMNO, T- Love & Iriscience,
The United States of America,
The Beau Brummels,
Brand Nubian,
Yusef Lateef,
June of 44,
Deakin,
Terrestrial Tones,
Anakelly,
Moss Icon,
CMW,
Massinfluence,
Scratch Acid,
Nik Kershaw,
Pharaoh Sanders and the Fire Engines,
DNA,
Dead Boys,
Gian Franco Pienzio,
Hoover,
The Cramps,
Davy DMX,
T.S.O.L.,
London Community Gospel Choir,
Qualms,
Brothers Johnson,
Ultramagnetic MC's,
The Smiths,
Carl Craig,
The Gap Band,
David Bowie,
The Slits,
Gastr Del Sol,
Max Romeo,
Electric Light Orchestra,
Man Parrish,
Gil Scott-Heron and Jamie xx,
Kauko Röyhkä ja Narttu,
Bush Tetras,
Boz Scaggs,
Electric Prunes,
Ohio Players,
Organ,
Kerri Chandler,
Dark Day,
Pere Ubu,
Sly & The Family Stone,
Morten Harket,
Stereo Dub,
The Associates,
F. McDonald,
Tommy Roe,
The Fall,
Skarface,
the Germs,
L. Decosne,
Joe Finger,
Peter Gordon & Love of Life Orchestra,
Guru Guru,
The Doors,
The Invisible,
Young Marble Giants,
Joe Smooth,
Siouxsie and the Banshees,
the Fania All-Stars, the Fania All-Stars, the Fania All-Stars, the Fania All-Stars.
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.