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 Burkina and from Seoul.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1970.
I'm losing my edge.
To all the kids in Columbus and Milan.
I'm losing my edge to the art-school Columbus 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 1978 at the first Visage practice in a loft in London.
I was working on the synthesizer 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 Bang on a Can All-Stars to the funk kids.
I played it at the Spitz.
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 Pole. All the underground hits.
All Sly & The Family Stone tracks. I heard you have a vinyl of every X-101 record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Cecil Taylor record.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Robert Wyatt,
The Fugs,
Glambeats Corp.,
Spandau Ballet,
Kurtis Blow,
The Durutti Column,
Scrapy,
Supertramp,
Susan Cadogan,
Delta 5,
the Bar-Kays,
Echospace,
Gang Gang Dance,
The Neon Judgement,
Stereo Dub,
Smog,
Roxy Music,
The Fire Engines,
Deepchord,
Hashim,
D'Angelo,
Von Mondo,
Traffic Nightmare,
The Searchers,
Au Pairs,
Archie Shepp,
Wighnomy Brothers & Robag Wruhme,
Quantec,
The West Coast Pop Art Experimental Band,
Cymande,
Super Lover Cee & Casanova Rud,
Agitation Free,
Grandmaster Flash and the Furious Five,
Pharaoh Sanders and the Fire Engines,
Tres Demented,
Todd Rundgren,
Oneida,
Steve Hackett,
Ossler,
Jeff Mills,
Stetsasonic,
F. McDonald,
Lee Hazlewood,
Rotary Connection,
Boogie Down Productions,
Ken Boothe,
The Fuzztones,
The Mummies,
Rekid,
Byron Stingily,
Procol Harum,
Kauko Röyhkä ja Narttu,
Main Source,
Aloha Tigers,
Andrew Ashong & Theo Parrish,
The Velvet Underground,
Robert Hood,
Cal Tjader,
Rites of Spring,
Graham Central Station,
John Coltrane,
Bob Dylan,
Oppenheimer Analysis,
Minny Pops, Minny Pops, Minny Pops, Minny Pops.
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.