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 Iraq and from Glasgow.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Portland and Manila.
I'm losing my edge to the art-school Toronto 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 1976 at the first Chic practice in a loft in New York.
I was working on the mellotron sounds with much patience.
I was there when Nile Rodgers 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 Swans to the grime kids.
I played it at the 40 Watt.
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 Bluetip. All the underground hits.
All The Standells tracks. I heard you have a vinyl of every Andrew Ashong & Theo Parrish record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a rhodes and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Kenny Larkin record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Junior Murvin,
Beasts of Bourbon,
Fad Gadget,
The Human League,
Stereo Dub,
The Cramps,
Arcadia,
Mission of Burma,
Lalann,
Notorious BIG live in Amsterdam,
Eric Copeland,
Letta Mbulu,
Stiv Bators,
Bootsy's Rubber Band,
Gang Starr,
The Birthday Party,
Lou Reed & Metallica,
Neu!,
Severed Heads,
Von Mondo,
Fat Boys,
Con Funk Shun,
DNA,
Babytalk,
Absolute Body Control,
Roxette,
Eden Ahbez,
the Human League,
Parry Music,
Minutemen,
Sight & Sound,
Cecil Taylor,
Deutsch Amerikanische Freundschaft,
The Dirtbombs,
Joyce Sims,
Soft Cell,
Tomorrow,
Mary Jane Girls,
The Techniques,
The Cowsills,
The Doobie Brothers,
Röyhkä ja Rättö ja Lehtisalo,
Sister Nancy,
Main Source,
Boogie Down Productions,
Porter Ricks,
Young Marble Giants,
Alton Ellis,
D'Angelo,
Eyeless In Gaza,
World's Most,
The Sound,
Donald Byrd,
Andrew Hill,
Stetsasonic,
Bang On A Can,
Qualms,
Franke,
Ponytail,
DeepChord presents Echospace,
Fatback Band,
Suburban Knight,
DJ Style,
Hasil Adkins,
Motorama, Motorama, Motorama, Motorama.
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.