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 Paraguay and from Accra.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Paris and Paris.
I'm losing my edge to the art-school Lille 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 1973 at the first Television practice in a loft in New York.
I was working on the linndrum sounds with much patience.
I was there when Nile Rodgers 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 Tomorrow to the jazz kids.
I played it at the Roxy.
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 Chris Corsano. All the underground hits.
All Groovy Waters tracks. I heard you have a vinyl of every Clear Light 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 a rhodes and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Ornette Coleman record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rapeman,
Bob Dylan,
The Gap Band,
Lucky Dragons,
The Dead C,
X-102,
Urselle,
Blake Baxter,
The Sisters of Mercy,
Janne Schatter,
Nation of Ulysses,
Rahsaan Roland Kirk,
The Searchers,
Barclay James Harvest,
The Vogues,
New Age Steppers,
Danielle Patucci,
Leonard Cohen,
The Index,
Reuben Wilson,
the Slits,
Country Joe & The Fish,
Camron Feat. Memphis Bleek And Beenie Seigel,
Pagans,
Agent Orange,
The Fuzztones,
Wally Richardson,
Stiv Bators,
Junior Murvin,
Camouflage,
Nils Olav,
Can,
Siglo XX,
Cabaret Voltaire,
Steve Hackett,
Terrestrial Tones,
Oneida,
Nik Kershaw,
H. Thieme,
Fad Gadget,
Be Bop Deluxe,
Traffic Nightmare,
Wolf Eyes,
June of 44,
Essential Logic,
Little Man,
Jimmy McGriff,
Minny Pops,
Al Stewart,
Freddie Wadling,
Suicide,
Masters at Work,
Avey Tare,
Johnny Osbourne,
Kerri Chandler,
Godley & Creme,
Kool Moe Dee,
Warren Ellis,
the Soft Cell,
Jesper Dahlback,
Eli Mardock,
Byron Stingily,
Rosa Yemen,
Joyce Sims, Joyce Sims, Joyce Sims, Joyce Sims.
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.