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 Iran and from Cairo.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 Paris and Cairo.
I'm losing my edge to the art-school Columbus 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the oboe sounds with much patience.
I was there when Donald Fagen 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 Kerri Chandler to the dance kids.
I played it at Trash.
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 Mo-Dettes. All the underground hits.
All L. Decosne tracks. I heard you have a vinyl of every Barbara Tucker record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a chamberlin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Blues Magoos record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lebanon Hanover,
Derrick May,
Pantaleimon,
Liaisons Dangereuses,
Sight & Sound,
JFA,
The Neon Judgement,
Avey Tare,
Eli Mardock,
Bootsy Collins,
Girls At Our Best!,
Super Lover Cee & Casanova Rud,
Shoche,
Fela Kuti,
Warren Ellis,
Sun Ra Arkestra,
Warsaw,
Severed Heads,
Wire,
June Days,
Darondo,
Model 500,
Porter Ricks,
Ludus,
UT,
The West Coast Pop Art Experimental Band,
The United States of America,
Matthew Bourne,
Funkadelic,
The Walker Brothers,
Ultra Naté,
The Men They Couldn't Hang,
Rhythim Is Rhythim,
the Normal,
Maurizio,
Ituana,
Lou Reed,
Yaz,
The Kinks,
Pussy Galore,
Icehouse,
Circle Jerks,
Ultimate Spinach,
Boogie Down Productions,
Aswad,
The Barracudas,
Subhumans,
Yellowson,
Ornette Coleman,
Scion,
Oneida,
Gil Scott-Heron & Brian Jackson,
Sister Nancy,
The Cure,
the Association,
Nation of Ulysses,
Lower 48,
Groovy Waters,
Crispian St. Peters,
Soft Machine,
Letta Mbulu,
Colin Newman,
Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft.
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.