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 Angola and from Stockholm.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Lyon and London.
I'm losing my edge to the art-school London 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 Soft Boys practice in a loft in Cambridge.
I was working on the oboe sounds with much patience.
I was there when Robert Palmer 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 Lou Reed & Metallica to the grunge kids.
I played it at CBGB's.
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 A Certain Ratio. All the underground hits.
All New Order tracks. I heard you have a vinyl of every Rufus Thomas record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a marimba and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Art Ensemble Of Chicago record.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
David Axelrod,
Franke,
Albert Ayler,
The Sound,
Sister Nancy,
The Invisible,
Metal Thangz,
The Chocolate Watch Band,
John Lydon,
Bobbi Humphrey,
Colin Newman,
Moebius,
Technova,
Fluxion,
Wally Richardson,
Kenny Larkin,
Marc Almond,
Little Man,
Roxy Music,
De La Soul & Jungle Brothers,
Intrusion,
OOIOO,
Motorama,
Harry Pussy,
Matthew Halsall,
Can,
Nation of Ulysses,
Audionom,
Grandmaster Flash and the Furious Five,
The Fuzztones,
Suburban Knight,
Tom Boy,
Captain Beefheart & His Magic Band,
Kerrie Biddell,
The Jesus and Mary Chain,
Sly & The Family Stone,
Godley & Creme,
Neil Young & Crazy Horse,
Jerry's Kids,
Lou Christie,
Con Funk Shun,
Mission of Burma,
Visionaries,LMNO, T- Love & Iriscience,
cv313,
the Slits,
The Cramps,
Don Cherry,
the Sonics,
Lalo Schifrin,
The American Breed,
Joyce Sims,
Art Ensemble Of Chicago,
The Birthday Party,
The Fortunes,
Anthony Braxton,
Alice Coltrane,
Black Sheep,
Yazoo,
Piero Umiliani,
Throbbing Gristle,
Infiniti,
The Residents, The Residents, The Residents, The Residents.
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.