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 Mexico and from Bologna.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Accra and Sao Paulo.
I'm losing my edge to the art-school Tehran 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 Throbbing Gristle practice in a loft in London.
I was working on the chamberlin sounds with much patience.
I was there when Donald Fagen 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 Art Ensemble Of Chicago to the jazz kids.
I played it at the Crocodile.
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 Dead Boys. All the underground hits.
All Kayak tracks. I heard you have a vinyl of every David Axelrod 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 '50s cut and another box set from the '80s.
I hear you're buying a theremin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Roxette record.
I hear that you and your band have sold your mellotron and bought a theremin.
I hear that you and your band have sold your theremin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Sheep,
Camberwell Now,
Bob Dylan,
Dual Sessions,
Oneida,
Franke,
New Order,
Von Mondo,
Wally Richardson,
Connie Case,
Section 25,
Sister Nancy,
Sight & Sound,
Siglo XX,
Cal Tjader,
Con Funk Shun,
Joyce Sims,
Justin Hinds & The Dominoes,
Eric Dolphy,
Pole,
the Association,
Echospace,
Byron Stingily,
The Birthday Party,
Soft Machine,
Avey Tare,
Pharaoh Sanders and the Fire Engines,
the Swans,
EPMD,
Barbara Tucker,
Jimmy McGriff,
ABBA,
Morten Harket,
Alton Ellis,
Terrestrial Tones,
Niagra,
Major Organ And The Adding Machine,
Guru Guru,
Ponytail,
Lafayette Afro Rock Band,
Traffic Nightmare,
Marc Romboy vs. Booka Shade,
Max Romeo,
June of 44,
Fluxion,
Nas,
Dark Day,
Livin' Joy,
Mars,
D'Angelo,
David Bowie,
Pagans,
Darondo,
Deutsch Amerikanische Freundschaft,
The Sonics,
Dorothy Ashby,
The Human League,
Bang on a Can All-Stars,
Q65,
Boogie Down Productions,
Fear, Fear, Fear, Fear.
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.