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 Mauritius and from Woodstock.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Seoul and Glasgow.
I'm losing my edge to the art-school Mexico City 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 arpeggiator sounds with much patience.
I was there when David Bowie 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 Toni Rubio to the jazz kids.
I played it at the Crocodile.
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 Danielle Patucci. All the underground hits.
All Cluster tracks. I heard you have a vinyl of every Lafayette Afro Rock Band record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a clarinet and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Gang Green record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pierre Henry,
The United States of America,
Grey Daturas,
Steve Hackett,
Kings Of Tomorrow,
Procol Harum,
Aswad,
The Offenders,
Louis and Bebe Barron,
Gerry Rafferty,
Echo & the Bunnymen,
The Last Poets,
Amon Düül,
Bob Dylan,
Black Moon,
Quando Quango,
Sister Nancy,
OOIOO,
Blossom Toes,
Gichy Dan,
Gastr Del Sol,
Depeche Mode,
Goldenarms,
The Skatalites,
Mary Jane Girls,
Grandmaster Flash and the Furious Five,
Royal Trux,
Lalo Schifrin,
Soft Cell,
Vladislav Delay,
Cymande,
Mantronix,
The Victims,
cv313,
The Electric Prunes,
Sun City Girls,
Sugar Minott,
Rahsaan Roland Kirk,
Neil Young,
Soul II Soul,
Porter Ricks,
the Fania All-Stars,
The Pop Group,
Second Layer,
Traffic Nightmare,
Lou Reed,
Tom Boy,
Aloha Tigers,
Nick Fraelich,
Animal Collective,
Pantytec,
The Index,
Davy DMX,
Rekid,
The Toasters,
Alton Ellis,
Eden Ahbez,
The Gap Band,
Radiohead,
Bad Manners,
Soulsonic Force,
Neil Young & Crazy Horse,
Ornette Coleman, Ornette Coleman, Ornette Coleman, Ornette Coleman.
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.