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 Equatorial Guinea and from Stockholm.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Woodstock and Shanghai.
I'm losing my edge to the art-school Salvador 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the 808 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 Sugar Minott to the funk kids.
I played it at the Troubador.
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 Johnny Clarke. All the underground hits.
All Magma tracks. I heard you have a vinyl of every Blancmange record on German import.
I heard that you have a white label of every seminal funk 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 snare and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Parry Music record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator 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?
Lindisfarne,
Maurizio,
Funky Four + One,
The Gories,
Hardrive,
The Raincoats,
Bootsy Collins,
L. Decosne,
Ornette Coleman,
Flamin' Groovies,
The Slackers,
Barclay James Harvest,
UT,
Flash Fearless,
Johnny Clarke,
Max Romeo,
Morten Harket,
Stetsasonic,
Electric Prunes,
Steve Hackett,
Heaven 17,
Intrusion,
Section 25,
Kerrie Biddell,
Pere Ubu,
John Coltrane,
Rites of Spring,
Pharoah Sanders,
Gong,
Sticky Fingaz feat. Raekwon,
Urselle,
Justin Hinds & The Dominoes,
Dead Boys,
Robert Wyatt,
The Alarm Clocks,
Art Ensemble Of Chicago,
Kaleidoscope,
Erasure,
Gary Puckett & The Union Gap,
New York Dolls,
The Remains,
The Trojans,
Newcleus,
Youth Brigade,
The Red Krayola,
Cecil Taylor,
The Black Dice,
Liliput,
Rufus Thomas,
Agitation Free,
the Normal,
The Mojo Men,
Jesper Dahlback,
Public Image Ltd.,
Arab on Radar,
Groovy Waters,
The Monochrome Set,
Pagans,
Pet Shop Boys,
Marvin Gaye,
Andrew Hill,
Magazine,
The Evens, The Evens, The Evens, The Evens.
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.