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 Haiti and from Toronto.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Accra and Sao Paulo.
I'm losing my edge to the art-school Manchester 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 theremin 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 Soft Machine 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 Skriet. All the underground hits.
All Robert Wyatt tracks. I heard you have a vinyl of every The Shadows of Knight record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a harpsichord and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Brass Construction record.
I hear that you and your band have sold your clarinet and bought a marimba.
I hear that you and your band have sold your marimba and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rosa Yemen,
Charles Mingus,
Goldenarms,
R.M.O.,
the Germs,
Johnny Osbourne,
Alton Ellis,
Rapeman,
Kauko Röyhkä ja Narttu,
Supertramp,
Jimmy McGriff,
Soulsonic Force,
Marine Girls,
Traffic Nightmare,
Interpol,
Ronan,
London Community Gospel Choir,
Fela Kuti,
The Human League,
Saccharine Trust,
Gang Gang Dance,
A Certain Ratio,
Swell Maps,
The Moleskins,
Zero Boys,
Hoover,
EPMD,
Angels of Light & Akron/Family,
Lightning Bolt,
The Monks,
Suicide,
Tommy Roe,
Heavy D & The Boyz,
David McCallum,
Marc Romboy vs. Booka Shade,
Jacques Brel,
Accadde A,
Grey Daturas,
The Cramps,
New Age Steppers,
Lou Christie,
Amon Düül II,
The Raincoats,
Maleditus Sound,
Skaos,
F. McDonald,
Pulsallama,
The Cure,
Ohio Players,
The Stooges,
Chris & Cosey,
Terry Callier,
The Mighty Diamonds,
Lucky Dragons,
Panda Bear,
Drexciya,
The Vogues,
June Days,
Young Marble Giants,
Tomorrow,
Minnie Riperton, Minnie Riperton, Minnie Riperton, Minnie Riperton.
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.