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 Kuwait and from Hong Kong.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Taipei and Glasgow.
I'm losing my edge to the art-school Mexico City 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 organ sounds with much patience.
I was there when Robert Palmer 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 Barclay James Harvest to the funk kids.
I played it at the Hacienda.
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 Eric Copeland. All the underground hits.
All R.M.O. tracks. I heard you have a vinyl of every The Selecter 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 '90s.
I hear you're buying a theremin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Flash Fearless record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Arab on Radar,
Albert Ayler,
Boogie Down Productions,
Nils Olav,
Barry Ungar,
Gang Starr,
Aaron Thompson,
Harpers Bizarre,
Barbara Tucker,
Kool G Rap & DJ Polo,
Audionom,
Boredoms,
The Star Department,
DJ Sneak,
Warsaw,
Godley & Creme,
The Flesh Eaters,
UT,
Zapp,
The Men They Couldn't Hang,
the Slits,
The Monks,
Negative Approach,
Rahsaan Roland Kirk,
Bootsy's Rubber Band,
Janne Schatter,
Ice-T,
The Slackers,
Lungfish,
Marc Romboy vs. Booka Shade,
Eyeless In Gaza,
Skaos,
The Cramps,
Model 500,
Jeff Lynne,
Bobby Hutcherson,
Sandy B,
The Searchers,
Andrew Ashong & Theo Parrish,
PIL,
Parry Music,
Tubeway Army,
Darondo,
Fatback Band,
Susan Cadogan,
Flash Fearless,
Hoover,
MDC,
Danielle Patucci,
Kool Moe Dee,
The New Christs,
Arthur Verocai,
Dual Sessions,
Eric B and Rakim,
De La Soul & Jungle Brothers,
Jeru the Damaja,
Gong,
Alton Ellis,
Reagan Youth,
Maleditus Sound,
The Durutti Column,
Larry & the Blue Notes,
Soulsonic Force, Soulsonic Force, Soulsonic Force, Soulsonic Force.
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.