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 Seychelles and from Manila.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Milan and Taipei.
I'm losing my edge to the art-school Stockholm 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 chamberlin sounds with much patience.
I was there when Tom Verlaine 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 Joe Smooth to the jazz 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 Cecil Taylor. All the underground hits.
All Q and Not U tracks. I heard you have a vinyl of every Prince Buster 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 '70s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Pharaoh Sanders and the Fire Engines record.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jacob Miller,
Sexual Harrassment,
Technova,
CMW,
John Coltrane,
Gastr Del Sol,
Tres Demented,
Glenn Branca,
Johnny Osbourne,
Soft Cell,
The Tremeloes,
LL Cool J,
Darondo,
Bill Near,
The Offenders,
Lafayette Afro Rock Band,
Sun Ra Arkestra,
Bronski Beat,
Anthony Braxton,
Desert Stars,
Thompson Twins,
L. Decosne,
The Happenings,
The Alarm Clocks,
The Move,
Lou Reed & Metallica,
The Trojans,
Fear,
Lonnie Liston Smith,
June of 44,
The Techniques,
Ultimate Spinach,
Andrew Ashong & Theo Parrish,
Harmonia,
Loose Ends,
Nico,
Delon & Dalcan,
Black Sheep,
Sunsets and Hearts,
The Smoke,
Stetsasonic,
Eric Dolphy,
Pylon,
Icehouse,
Michelle Simonal,
Electric Light Orchestra,
Max Romeo,
The Evens,
The Star Department,
Tubeway Army,
The Litter,
Babytalk,
London Community Gospel Choir,
Roxette,
Massinfluence,
Notorious BIG live in Amsterdam,
Youth Brigade,
Eyeless In Gaza,
cv313,
Con Funk Shun,
The Music Machine,
Khruangbin,
Freddie Wadling, Freddie Wadling, Freddie Wadling, Freddie Wadling.
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.