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 Ireland and from Salvador.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Winnipeg and Lyon.
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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the arpeggiator sounds with much patience.
I was there when Lou Reed 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 New Age Steppers to the disco kids.
I played it at Trash.
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 Bootsy's Rubber Band. All the underground hits.
All Lower 48 tracks. I heard you have a vinyl of every Royal Trux record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a mellotron and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Black Flag record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oppenheimer Analysis,
Dorothy Ashby,
John Coltrane,
Symarip,
Bush Tetras,
Arab on Radar,
Fort Wilson Riot,
Television,
Model 500,
Jimmy McGriff,
Eddi Front,
Cabaret Voltaire,
Funky Four + One,
Angry Samoans,
Robert Wyatt,
Chris & Cosey,
Alphaville,
Zero Boys,
Kerri Chandler,
Unrelated Segments,
The Standells,
Cameo,
Girls At Our Best!,
The Monochrome Set,
The Kinks,
Shoche,
Peter and Kerry,
Minor Threat,
Cluster,
The Barracudas,
Ludus,
UT,
The Music Machine,
Joey Negro,
Inner City,
Marc Romboy vs. Booka Shade,
Matthew Halsall,
Sun Ra,
June of 44,
Negative Approach,
Supertramp,
The Skatalites,
The Cosmic Jokers,
The Dave Clark Five,
The Durutti Column,
MDC,
Lou Reed & Metallica,
The Searchers,
Reuben Wilson,
Gabor Szabo,
Tropical Tobacco,
New Age Steppers,
Pylon,
The Move,
Traffic Nightmare,
Sugar Minott,
Bootsy's Rubber Band,
Thee Headcoats,
Gil Scott-Heron & Brian Jackson,
Chris Corsano,
The Jesus and Mary Chain,
FM Einheit,
Marcia Griffiths, Marcia Griffiths, Marcia Griffiths, Marcia Griffiths.
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.