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 Georgia and from Bremen.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1974.
I'm losing my edge.
To all the kids in Philadelphia and Taipei.
I'm losing my edge to the art-school Calgary 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 1976 at the first Chic practice in a loft in New York.
I was working on the oboe 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 Johnny Osbourne to the crunk kids.
I played it at the Astoria.
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 Eden Ahbez. All the underground hits.
All The Saints tracks. I heard you have a vinyl of every Warren Ellis 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 '60s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Terrestrial Tones record.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rahsaan Roland Kirk,
Strawberry Alarm Clock,
Hot Snakes,
Eric B and Rakim,
Swans,
Au Pairs,
Eden Ahbez,
The Men They Couldn't Hang,
Barbara Tucker,
Ludus,
Brass Construction,
Harpers Bizarre,
Guru Guru,
Art Ensemble Of Chicago,
Rod Modell,
Technova,
48th St. Collective,
Silicon Teens,
Public Image Ltd.,
The Gun Club,
Procol Harum,
The United States of America,
Quantec,
Kenny Larkin,
Bill Wells,
Thompson Twins,
The Alarm Clocks,
Andrew Ashong & Theo Parrish,
Nas,
the Association,
Ultravox,
Mars,
Pole,
Matthew Bourne,
Eddi Front,
The Peanut Butter Conspiracy,
Notorious BIG live in Amsterdam,
The Five Americans,
Robert Wyatt,
The Smiths,
Magazine,
The Pop Group,
Grandmaster Flash,
Sonic Youth,
Charles Mingus,
Crime,
The Tremeloes,
Gang Gang Dance,
Jesper Dahlback,
Darondo,
K-Klass,
The American Breed,
Sun Ra,
Juan Atkins,
Unrelated Segments,
Nick Cave & The Bad Seeds,
Theoretical Girls,
Vainqueur,
These Immortal Souls,
The Sonics,
L. Decosne,
Rapeman,
One Last Wish, One Last Wish, One Last Wish, One Last Wish.
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.