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 San Marino and from Stockholm.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Shanghai and Winnipeg.
I'm losing my edge to the art-school Accra 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 1973 at the first Television practice in a loft in New York.
I was working on the güiro sounds with much patience.
I was there when Michael McDonald 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 Kerri Chandler to the rap 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 Deadbeat. All the underground hits.
All Shuggie Otis tracks. I heard you have a vinyl of every Rhythim Is Rhythim record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a synthesizer and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Throbbing Gristle record.
I hear that you and your band have sold your rhodes and bought a snare.
I hear that you and your band have sold your snare and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Loose Ends,
Archie Shepp,
the Swans,
Motorama,
Man Eating Sloth,
Livin' Joy,
Jesper Dahlback,
The Walker Brothers,
Khruangbin,
Aaron Thompson,
Hashim,
Q65,
Boogie Down Productions,
Freddie Wadling,
The Vogues,
The J.B.'s,
Matthew Halsall,
Flipper,
The Buckinghams,
The Stooges,
Stiv Bators,
Heaven 17,
Funky Four + One,
Roger Hodgson,
Fluxion,
Fifty Foot Hose,
Cameo,
Ultravox,
Marine Girls,
kango's stein massive,
Subhumans,
Spoonie Gee,
The Residents,
Nick Fraelich,
Robert Hood,
Delon & Dalcan,
Chris & Cosey,
Radiopuhelimet,
Eric B and Rakim,
Andrew Ashong & Theo Parrish,
Scan 7,
The Dave Clark Five,
John Holt,
Cybotron,
Audionom,
Swell Maps,
Black Sheep,
Throbbing Gristle,
Big Daddy Kane,
The Monks,
Public Image Ltd.,
Lindisfarne,
Rosa Yemen,
Mission of Burma,
Juan Atkins,
Fear,
Depeche Mode,
Don Cherry,
Camouflage,
The Moleskins,
Harpers Bizarre, Harpers Bizarre, Harpers Bizarre, Harpers Bizarre.
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.