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 Iraq and from Copenhagen.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Milan and Columbus.
I'm losing my edge to the art-school Lagos 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the rhodes 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 The Evens to the jazz 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 The Count Five. All the underground hits.
All Popol Vuh tracks. I heard you have a vinyl of every Pulsallama record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a 808 and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Johnny Clarke record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eric Dolphy,
Frankie Knuckles,
Avey Tare's Slasher Flicks,
Sight & Sound,
Siglo XX,
Max Romeo,
Section 25,
Mo-Dettes,
The Tremeloes,
Kings Of Tomorrow,
Darondo,
Ronnie Foster,
Liaisons Dangereuses,
Sarah Menescal,
The Zeros,
the Fania All-Stars,
The Buckinghams,
The Victims,
Flamin' Groovies,
It's A Beautiful Day,
Bluetip,
Radiopuhelimet,
Sexual Harrassment,
Selector Dub Narcotic,
The Misunderstood,
Suburban Knight,
Andrew Hill,
MC5,
Ash Ra Tempel,
Fugazi,
Larry & the Blue Notes,
Quando Quango,
Peter & Gordon,
Black Sheep,
Brothers Johnson,
F. McDonald,
Banda Bassotti,
Eve St. Jones,
New Age Steppers,
Lafayette Afro Rock Band,
Young Marble Giants,
Boredoms,
The Fall,
Deakin,
Roy Ayers Ubiquity,
Kayak,
DJ Sneak,
Jacob Miller,
Nico,
Scion,
Thee Headcoats,
Pulsallama,
Joe Finger,
Louis and Bebe Barron,
Pete Rock & C.L. Smooth,
Ultramagnetic MC's,
Cecil Taylor,
Gary Puckett & The Union Gap,
Wings,
Echospace,
The Modern Lovers,
Bush Tetras, Bush Tetras, Bush Tetras, Bush Tetras.
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.