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 Nepal and from Portland.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Mexico City and Bologna.
I'm losing my edge to the art-school Madrid 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 at the first Suicide practice in a loft in New York.
I was working on the arpeggiator sounds with much patience.
I was there when Robert Palmer 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 Gerry Rafferty to the grunge 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 Eric Dolphy. All the underground hits.
All June of 44 tracks. I heard you have a vinyl of every Camberwell Now record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying an organ and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Marshall Jefferson record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sonny Sharrock,
Depeche Mode,
The Star Department,
London Community Gospel Choir,
T.S.O.L.,
Kerri Chandler,
Al Stewart,
Don Cherry,
Charles Mingus,
Gil Scott-Heron & Brian Jackson,
The Remains,
Motorama,
the Sonics,
Minutemen,
the Normal,
The Kinks,
Minnie Riperton,
Index,
Quantec,
Rhythm & Sound,
The Sonics,
The Searchers,
Red Lorry Yellow Lorry,
Joyce Sims,
Unrelated Segments,
Country Teasers,
Wolf Eyes,
Scott Walker + Sunn O))),
Dual Sessions,
Scratch Acid,
Gian Franco Pienzio,
Pagans,
Sly & The Family Stone,
The Men They Couldn't Hang,
Andrew Ashong & Theo Parrish,
Urselle,
The Tremeloes,
Eric Copeland,
Erasure,
Pulsallama,
The Happenings,
The Toasters,
The Five Americans,
Notorious BIG live in Amsterdam,
Terror Squad Feat. Camron,
Stereo Dub,
Brass Construction,
Junior Murvin,
Mars,
Rosa Yemen,
The Birthday Party,
Whodini,
Mandrill,
La Düsseldorf,
The Names,
Audionom,
Sight & Sound,
The West Coast Pop Art Experimental Band,
Lou Reed & John Cale,
Darondo,
Blancmange,
Man Parrish,
Lalo Schifrin,
Ultravox, Ultravox, Ultravox, Ultravox.
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.