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 Russia and from Edmonton.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 Bologna and Philadelphia.
I'm losing my edge to the art-school Manila 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the arpeggiator 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 Archie Shepp to the punk kids.
I played it at the Astoria.
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 Spandau Ballet. All the underground hits.
All Faraquet tracks. I heard you have a vinyl of every Lungfish record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a harpsichord and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a the Association record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bootsy Collins,
John Holt,
the Bar-Kays,
the Association,
Peter & Gordon,
Jacques Brel,
Animal Collective,
Trumans Water,
Liliput,
Brick,
Sandy B,
Rapeman,
Eurythmics,
Tears for Fears,
It's A Beautiful Day,
Pete Rock & C.L. Smooth,
Throbbing Gristle,
Jeff Mills,
Frankie Knuckles,
Sound Behaviour,
New Order,
Minor Threat,
Kool G Rap & DJ Polo,
The Gap Band,
Mr. Review,
Nico,
The Move,
Camberwell Now,
DJ Sneak,
Boz Scaggs,
Brand Nubian,
Sarah Menescal,
The Fall,
the Soft Cell,
Chris & Cosey,
Slave,
L. Decosne,
Los Fastidios,
Basic Channel,
Jawbox,
Vladislav Delay,
The Sisters of Mercy,
Wings,
Oneida,
ABBA,
Kings Of Tomorrow,
The Slackers,
These Immortal Souls,
Schoolly D,
Bob Dylan,
Amon Düül II,
Loose Ends,
Soul Sonic Force,
Spoonie Gee,
The Sonics,
Man Eating Sloth,
Deakin,
AZ,
Ajijia Myrayebe,
Cecil Taylor,
Brothers Johnson,
Delta 5,
The Misunderstood, The Misunderstood, The Misunderstood, The Misunderstood.
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.