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 Costa Rica and from Manchester.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Cairo and London.
I'm losing my edge to the art-school Stockholm 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 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 Eric Dolphy to the rap kids.
I played it at the Troubador.
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 Severed Heads. All the underground hits.
All Drexciya tracks. I heard you have a vinyl of every Gong record on German import.
I heard that you have a white label of every seminal dance 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 a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Unrelated Segments record.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Average White Band,
Infiniti,
The Chocolate Watch Band,
Nick Fraelich,
Tropical Tobacco,
Lizzy Mercier Descloux,
Strawberry Alarm Clock,
Lungfish,
John Foxx,
Jeru the Damaja,
MDC,
The Electric Prunes,
the Germs,
Deutsch Amerikanische Freundschaft,
June Days,
The Grass Roots,
Gabor Szabo,
Chris Corsano,
the Soft Cell,
Model 500,
Marmalade,
Peter & Gordon,
Sonic Youth,
Lyres,
Minnie Riperton,
Sly & The Family Stone,
Frankie Knuckles,
K-Klass,
Grauzone,
KRS-One,
Pete Rock & C.L. Smooth,
Sixth Finger,
Mad Mike,
Rhythim Is Rhythim,
Aaron Thompson,
Bush Tetras,
Black Sheep,
The Gap Band,
Bootsy's Rubber Band,
Pharoah Sanders,
Kurtis Blow,
R.M.O.,
Siouxsie and the Banshees,
Spandau Ballet,
Sonny Sharrock,
Panda Bear,
Bill Wells,
Nirvana,
Rufus Thomas,
A Flock of Seagulls,
Richard Hell and the Voidoids,
a-ha,
PIL,
The Walker Brothers,
Urselle,
Lucky Dragons,
Sound Behaviour,
Wighnomy Brothers & Robag Wruhme,
DNA,
Byron Stingily,
The Gun Club,
Heavy D & The Boyz,
Roger Hodgson,
Kings Of Tomorrow, Kings Of Tomorrow, Kings Of Tomorrow, Kings Of Tomorrow.
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.