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 Maldives and from Mexico City.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1962 to 1973.
I'm losing my edge.
To all the kids in New York and Bologna.
I'm losing my edge to the art-school Spokane 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 1976 at the first Chic practice in a loft in New York.
I was working on the spring reverb 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 Pet Shop Boys 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 Masters at Work. All the underground hits.
All Cal Tjader tracks. I heard you have a vinyl of every The American Breed record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a marimba and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Lightning Bolt record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jimmy McGriff,
Subhumans,
June of 44,
10cc,
EPMD,
Idris Muhammad,
Bobby Byrd,
Lou Reed & John Cale,
Jeff Lynne,
Scott Walker,
Kool Moe Dee,
Eve St. Jones,
Amon Düül,
Eyeless In Gaza,
Amon Düül II,
The Neon Judgement,
Black Bananas,
Pharaoh Sanders and the Fire Engines,
Marvin Gaye,
ABC,
Minnie Riperton,
Soft Machine,
Zapp,
Cymande,
Procol Harum,
Sad Lovers and Giants,
Moss Icon,
Tim Buckley,
Lower 48,
Rapeman,
Altered Images,
Gil Scott Heron,
Robert Wyatt,
Rites of Spring,
Das Ding,
De La Soul & Jungle Brothers,
The Walker Brothers,
Robert Hood,
The Gladiators,
R.M.O.,
Cheater Slicks,
the Soft Cell,
Agent Orange,
Rufus Thomas,
The Angels of Light,
Sex Pistols,
Lafayette Afro Rock Band,
Alton Ellis,
Stiv Bators,
The Gories,
Marcia Griffiths,
Radiopuhelimet,
Bobby Sherman,
The Wake,
Peter Gordon & Love of Life Orchestra,
Liliput,
Deepchord,
The West Coast Pop Art Experimental Band,
Sun Ra Arkestra,
Crispian St. Peters,
Banda Bassotti,
Terror Squad Feat. Camron,
Quantec, Quantec, Quantec, Quantec.
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.