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 France and from Johannesburg.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Cairo and Sao Paulo.
I'm losing my edge to the art-school Johannesburg 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the snare sounds with much patience.
I was there when Lou Reed 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 Unrelated Segments to the funk 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 Porter Ricks. All the underground hits.
All Albert Ayler tracks. I heard you have a vinyl of every The Index record on German import.
I heard that you have a white label of every seminal jazz 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 rhodes and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Gong record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Grauzone,
Country Joe & The Fish,
The Skatalites,
Major Organ And The Adding Machine,
The Slackers,
L. Decosne,
Graham Central Station,
Groovy Waters,
Royal Trux,
Wally Richardson,
Curtis Mayfield,
Chris Corsano,
In Retrospect,
A Certain Ratio,
Nils Olav,
Roxy Music,
The Golliwogs,
Connie Case,
Bobby Womack,
The Human League,
Marvin Gaye,
Slave,
The Shadows of Knight,
The Tremeloes,
Ronnie Foster,
The Mojo Men,
Sugar Minott,
Johnny Osbourne,
Albert Ayler,
Jeff Lynne,
Guru Guru,
David Axelrod,
Masters at Work,
Terry Callier,
AZ,
Outsiders,
E-Dancer,
Gregory Isaacs,
The Stooges,
Nick Fraelich,
Tears for Fears,
Terrestrial Tones,
Eden Ahbez,
the Fania All-Stars,
Scan 7,
Pussy Galore,
The United States of America,
Stockholm Monsters,
Peter Gordon & Love of Life Orchestra,
The New Christs,
Blancmange,
Underground Resistance,
New York Dolls,
Sunsets and Hearts,
The Sonics,
Fluxion,
Siglo XX,
Red Lorry Yellow Lorry,
EPMD,
The Invisible,
Roy Ayers,
Theoretical Girls,
Avey Tare,
The Angels of Light,
The Sound, The Sound, The Sound, The Sound.
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.