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 Burundi and from New York.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1972.
I'm losing my edge.
To all the kids in Sao Paulo and Manila.
I'm losing my edge to the art-school Columbus 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the harpsichord 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 Roy Ayers Ubiquity to the jazz 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 Crispian St. Peters. All the underground hits.
All Lightning Bolt tracks. I heard you have a vinyl of every The Gap Band record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an oboe and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a David McCallum record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Royal Trux,
Vaughan Mason & Crew,
Pussy Galore,
The Saints,
Heavy D & The Boyz,
L. Decosne,
Bush Tetras,
Crime,
Gastr Del Sol,
Charles Mingus,
Pantytec,
Delon & Dalcan,
Drexciya,
Main Source,
Major Organ And The Adding Machine,
Alison Limerick,
Soft Cell,
Avey Tare,
A Flock of Seagulls,
Make Up,
The Doobie Brothers,
Aswad,
Chrome,
Newcleus,
The Gap Band,
The Fortunes,
Harry Pussy,
DeepChord presents Echospace,
John Cale,
Unrelated Segments,
The West Coast Pop Art Experimental Band,
The Names,
Rod Modell,
Rosa Yemen,
Ultimate Spinach,
Soulsonic Force,
Darondo,
The Human League,
PIL,
Idris Muhammad,
Soul Sonic Force,
New Age Steppers,
Jandek,
Dual Sessions,
Heaven 17,
Marvin Gaye,
Bluetip,
B.T. Express,
Delta 5,
Teenage Jesus and the Jerks,
Moby Grape,
Shuggie Otis,
Gichy Dan,
Selector Dub Narcotic,
Harmonia,
Country Teasers,
A Certain Ratio,
Kaleidoscope,
Shoche,
The Shadows of Knight,
The Gun Club,
the Bar-Kays,
the Fania All-Stars,
Rowland S Howard / Lydia Lunch, Rowland S Howard / Lydia Lunch, Rowland S Howard / Lydia Lunch, Rowland S Howard / Lydia Lunch.
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.