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 Venezuela and from Lille.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1976.
I'm losing my edge.
To all the kids in Johannesburg and Mumbai.
I'm losing my edge to the art-school Copenhagen 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 clarinet sounds with much patience.
I was there when Captain Beefheart 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 ABC 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 Selector Dub Narcotic. All the underground hits.
All Amon Düül tracks. I heard you have a vinyl of every La Düsseldorf 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 sitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Fall record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mission of Burma,
Masters at Work,
Jimmy McGriff,
Ultimate Spinach,
Sight & Sound,
Nils Olav,
Quando Quango,
Radiohead,
Spandau Ballet,
Television,
Peter and Kerry,
These Immortal Souls,
Crooked Eye,
EPMD,
Yaz,
Wighnomy Brothers & Robag Wruhme,
Brick,
The Seeds,
the Bar-Kays,
Warsaw,
Johnny Clarke,
Erasure,
Neil Young & Crazy Horse,
The Moleskins,
James White and The Blacks,
Pantytec,
Hoover,
Marmalade,
Roy Ayers,
The Raincoats,
The Trojans,
Röyhkä ja Rättö ja Lehtisalo,
Pantaleimon,
FM Einheit,
Anthony Braxton,
U.S. Maple,
Leonard Cohen,
Selector Dub Narcotic,
Gil Scott-Heron and Jamie xx,
Pere Ubu,
The West Coast Pop Art Experimental Band,
Sandy B,
Kango’s Stein Massive,
Black Sheep,
The Peanut Butter Conspiracy,
Scrapy,
Angels of Light & Akron/Family,
Stereo Dub,
Ten City,
The Monochrome Set,
Sly & The Family Stone,
Eyeless In Gaza,
JFA,
Pole,
The Saints,
Soul Sonic Force,
Art Ensemble Of Chicago,
Dennis Brown,
Sad Lovers and Giants,
Mars,
Teenage Jesus and the Jerks,
The Residents,
Dark Day, Dark Day, Dark Day, Dark Day.
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.