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 Turkey and from Beijing.
But I was there.
I was there in 1973.
I was there at the first Television 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 1963 to 1972.
I'm losing my edge.
To all the kids in Johannesburg and Columbus.
I'm losing my edge to the art-school Toronto 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 1984 at the first Arcadia practice in a loft in London.
I was working on the clarinet 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 the Bar-Kays to the electroclash 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 Derrick May. All the underground hits.
All Notorious BIG live in Amsterdam tracks. I heard you have a vinyl of every Black Pus 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 '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 Brass Construction record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
FM Einheit,
Kango’s Stein Massive,
Maleditus Sound,
Jandek,
Bang On A Can,
Joyce Sims,
Oneida,
Kool G Rap & DJ Polo,
Absolute Body Control,
The Modern Lovers,
The Red Krayola,
Gong,
Todd Rundgren,
Dawn Penn,
Cheater Slicks,
Silicon Teens,
The Knickerbockers,
Vaughan Mason & Crew,
Agent Orange,
MDC,
The Peanut Butter Conspiracy,
Flamin' Groovies,
The Fire Engines,
Strawberry Alarm Clock,
the Slits,
Susan Cadogan,
Rahsaan Roland Kirk,
Lebanon Hanover,
Pagans,
Roxette,
Pharaoh Sanders and the Fire Engines,
The Index,
U.S. Maple,
Sonic Youth,
Isaac Hayes,
Cabaret Voltaire,
Archie Shepp,
Scratch Acid,
Terrestrial Tones,
The Beau Brummels,
Bobby Hutcherson,
The Techniques,
Graham Central Station,
Terror Squad Feat. Camron,
Theoretical Girls,
Gang Starr,
Arab on Radar,
The Smiths,
Harpers Bizarre,
Toni Rubio,
Radio Birdman,
Grandmaster Flash,
Jesper Dahlbäck,
Average White Band,
Banda Bassotti,
The Kinks,
Sonny Sharrock,
Funky Four + One,
Bluetip,
June of 44,
Bobby Byrd,
Pharoah Sanders, Pharoah Sanders, Pharoah Sanders, Pharoah Sanders.
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.