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 Mali and from Sao Paulo.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Johannesburg and Johannesburg.
I'm losing my edge to the art-school Philadelphia 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 1978 at the first Visage practice in a loft in London.
I was working on the synthesizer sounds with much patience.
I was there when Michael McDonald 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 Anthony Braxton to the rock kids.
I played it at CBGB's.
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 Girls At Our Best!. All the underground hits.
All Metal Thangz tracks. I heard you have a vinyl of every Lucky Dragons 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 clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Busters record.
I hear that you and your band have sold your linndrum and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masters at Work,
The Cowsills,
10cc,
The Buckinghams,
De La Soul & Jungle Brothers,
Mo-Dettes,
Alton Ellis,
Scion,
KRS-One,
The Associates,
Röyhkä ja Rättö ja Lehtisalo,
Black Bananas,
Scratch Acid,
Symarip,
Judy Mowatt,
Outsiders,
The Saints,
Sun Ra,
The Sonics,
The Residents,
Bang on a Can All-Stars,
Avey Tare & Kría Brekkan,
John Cale,
Minor Threat,
John Lydon,
Red Lorry Yellow Lorry,
Oppenheimer Analysis,
Zero Boys,
Basic Channel,
Nils Olav,
Aural Exciters,
Derrick May,
Khruangbin,
Joey Negro,
Sight & Sound,
Marine Girls,
Newcleus,
Cal Tjader,
F. McDonald,
Echospace,
Von Mondo,
Agitation Free,
Andrew Ashong & Theo Parrish,
Blake Baxter,
the Germs,
OOIOO,
Harpers Bizarre,
Erasure,
Underground Resistance,
The Raincoats,
Radiopuhelimet,
Donny Hathaway,
Dennis Brown,
Audionom,
Neil Young,
Stereo Dub,
Jerry's Kids,
Peter & Gordon,
The Knickerbockers,
Patti Smith,
Ajijia Myrayebe, Ajijia Myrayebe, Ajijia Myrayebe, Ajijia Myrayebe.
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.