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 Australia and from Columbus.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1967 to 1979.
I'm losing my edge.
To all the kids in Mexico City and Toronto.
I'm losing my edge to the art-school Paris 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 harpsichord sounds with much patience.
I was there when David Bowie 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 Eric Dolphy to the punk 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 Soulsonic Force. All the underground hits.
All Bob Dylan tracks. I heard you have a vinyl of every Icehouse record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying an oboe and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Aaron Thompson record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Doors,
the Fania All-Stars,
Lee Hazlewood,
Funky Four + One,
The Selecter,
Gary Puckett & The Union Gap,
the Sonics,
Hardrive,
Susan Cadogan,
The Smoke,
Bobby Womack,
David Bowie,
Vainqueur,
Flash Fearless,
Roy Ayers Ubiquity,
Jacques Brel,
Bill Wells,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Notorious BIG live in Amsterdam,
Neil Young,
Max Romeo,
MDC,
F. McDonald,
Bootsy Collins,
John Coltrane,
Thinking Fellers Union Local 282,
Rotary Connection,
Minor Threat,
Louis and Bebe Barron,
Throbbing Gristle,
Sunsets and Hearts,
The United States of America,
Gil Scott-Heron and Jamie xx,
Bronski Beat,
Interpol,
Crooked Eye,
John Foxx,
Nils Olav,
Wire,
Smog,
Cameo,
The Shadows of Knight,
Von Mondo,
The Barracudas,
Television,
The Litter,
Grey Daturas,
Chris & Cosey,
Rites of Spring,
Mo-Dettes,
Bob Dylan,
AZ,
D'Angelo,
Marmalade,
Pharoah Sanders,
Rhythm & Sound,
Index,
10cc,
Kings Of Tomorrow,
Eli Mardock, Eli Mardock, Eli Mardock, Eli Mardock.
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.