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 Vietnam and from Lagos.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1974.
I'm losing my edge.
To all the kids in Tehran and Manila.
I'm losing my edge to the art-school Johannesburg 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 808 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 Soft Machine to the rap 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 Soulsonic Force. All the underground hits.
All Gil Scott Heron tracks. I heard you have a vinyl of every Andrew Hill record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a 808 and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Lou Reed & John Cale record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ralphi Rosario,
The Mighty Diamonds,
The Monks,
Supertramp,
Lalo Schifrin,
Robert Wyatt,
Eric Dolphy,
Gang Gang Dance,
Barry Ungar,
Nas,
Unwound,
Black Pus,
Jeru the Damaja,
Sight & Sound,
Swans,
The Modern Lovers,
The Fuzztones,
Freddie Wadling,
D'Angelo,
Suicide,
Derrick May,
Mr. Review,
Procol Harum,
These Immortal Souls,
The Fall,
The Blues Magoos,
The Index,
Rod Modell,
Deakin,
The Cramps,
Traffic Nightmare,
Magma,
Roxette,
Popol Vuh,
New Order,
Tears for Fears,
Chris & Cosey,
Mark Hollis,
Echo & the Bunnymen,
Terror Squad Feat. Camron,
Oneida,
Bootsy Collins,
Gil Scott-Heron & Brian Jackson,
Blossom Toes,
Don Cherry,
Amon Düül II,
John Holt,
Curtis Mayfield,
X-101,
E-Dancer,
Yusef Lateef,
The Vogues,
Sandy B,
Nick Fraelich,
Röyhkä ja Rättö ja Lehtisalo,
Ohio Players,
Scratch Acid,
Inner City,
Shoche,
Deutsch Amerikanische Freundschaft,
Idris Muhammad,
Dead Boys,
Colin Newman, Colin Newman, Colin Newman, Colin Newman.
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.