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 Houston.
But I was there.
I was there in 1980.
I was there at the first Cybotron 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 1966 to 1979.
I'm losing my edge.
To all the kids in Seoul and Houston.
I'm losing my edge to the art-school Sao Paulo 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 synthesizer sounds with much patience.
I was there when Tom Verlaine 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 Sam Rivers to the rock kids.
I played it at the Crocodile.
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 The Busters. All the underground hits.
All Black Pus tracks. I heard you have a vinyl of every Gregory Isaacs record on German import.
I heard that you have a white label of every seminal crunk 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 chamberlin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Andrew Hill record.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marc Romboy vs. Booka Shade,
Eurythmics,
Shuggie Otis,
The Human League,
Lee Hazlewood,
Kas Product,
Blossom Toes,
The Skatalites,
the Slits,
Gang Green,
Joensuu 1685,
B.T. Express,
Be Bop Deluxe,
Adolescents,
Alton Ellis,
Super Lover Cee & Casanova Rud,
The Angels of Light,
Supertramp,
Scion,
Marvin Gaye,
Fluxion,
Warsaw,
The Mummies,
Pierre Henry,
The Dirtbombs,
Harry Pussy,
Stockholm Monsters,
The Monks,
Dual Sessions,
Colin Newman,
Massinfluence,
Liaisons Dangereuses,
Soul Sonic Force,
Peter & Gordon,
Porter Ricks,
Y Pants,
The Red Krayola,
Warren Ellis,
Dorothy Ashby,
Soft Cell,
Gong,
Joy Division,
Q and Not U,
James White and The Blacks,
Mo-Dettes,
The Doobie Brothers,
Easy Going,
Don Cherry,
Television Personalities,
Godley & Creme,
Sugar Minott,
The Martian,
KRS-One,
London Community Gospel Choir,
Maleditus Sound,
Jimmy McGriff,
Mars,
Deepchord,
Yellowson,
The Smoke,
The Men They Couldn't Hang,
Rahsaan Roland Kirk,
Make Up, Make Up, Make Up, Make Up.
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.