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 Ukraine and from Tehran.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Mexico City and Accra.
I'm losing my edge to the art-school Tokyo 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 rhodes 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 Parry Music to the jazz kids.
I played it at the Astoria.
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 James Chance & The Contortions. All the underground hits.
All PIL tracks. I heard you have a vinyl of every Selector Dub Narcotic record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a spring reverb and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Cheater Slicks record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott-Heron & Brian Jackson,
Gil Scott Heron,
Sarah Menescal,
The Gun Club,
Das Ding,
Cecil Taylor,
The Fuzztones,
Agent Orange,
Motorama,
Quando Quango,
Leonard Cohen,
Soft Machine,
Major Organ And The Adding Machine,
Sun Ra,
Jerry's Kids,
Wighnomy Brothers & Robag Wruhme,
The Techniques,
Avey Tare's Slasher Flicks,
Steve Hackett,
JFA,
Toni Rubio,
Heaven 17,
The Black Dice,
Ten City,
Kas Product,
Television,
DeepChord presents Echospace,
Selector Dub Narcotic,
The Standells,
Lindisfarne,
Spoonie Gee,
Sex Pistols,
David Axelrod,
Model 500,
James White and The Blacks,
Bluetip,
F. McDonald,
Accadde A,
Nik Kershaw,
Josef K,
Gichy Dan,
Notorious Big And Bone Thugs,
Siouxsie and the Banshees,
Dual Sessions,
kango's stein massive,
8 Eyed Spy,
Kaleidoscope,
Bill Wells,
Fifty Foot Hose,
Bronski Beat,
Can,
Tim Buckley,
Visage,
Lalann,
Absolute Body Control,
Newcleus,
Ronnie Foster,
AZ,
Ornette Coleman,
Kevin Saunderson,
Porter Ricks,
Camouflage,
Malaria!, Malaria!, Malaria!, Malaria!.
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.