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 Nepal and from Taipei.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Tokyo and Bologna.
I'm losing my edge to the art-school Delhi 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the clarinet sounds with much patience.
I was there when Michael McDonald 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 Roy Ayers to the grunge kids.
I played it at the Spitz.
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 Smoke. All the underground hits.
All Dorothy Ashby tracks. I heard you have a vinyl of every Technova record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a mellotron and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Blossom Toes record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Zapp,
Bobby Womack,
Pylon,
The New Christs,
Lower 48,
Dark Day,
Sam Rivers,
The Neon Judgement,
The Slits,
Shuggie Otis,
Underground Resistance,
Public Enemy,
PIL,
Urselle,
Grandmaster Flash and the Furious Five,
Loose Ends,
Pagans,
10cc,
MC5,
Robert Görl,
The Gories,
LL Cool J,
David Axelrod,
Erasure,
Archie Shepp,
The Skatalites,
The Invisible,
New York Dolls,
Be Bop Deluxe,
Louis and Bebe Barron,
Stetsasonic,
Reuben Wilson,
Gil Scott-Heron & Brian Jackson,
Kauko Röyhkä ja Narttu,
Bronski Beat,
Icehouse,
Deakin,
The Stooges,
Lalann,
The Motions,
Letta Mbulu,
Babytalk,
Jacob Miller,
Bauhaus,
Pole,
Orchestral Manoeuvres in the Dark,
Aaron Thompson,
Lizzy Mercier Descloux,
David Bowie,
The Doors,
Wighnomy Brothers & Robag Wruhme,
UT,
Roxy Music,
Byron Stingily,
Boogie Down Productions,
the Bar-Kays,
Matthew Halsall,
Sunsets and Hearts,
Rod Modell,
OOIOO,
Avey Tare,
Judy Mowatt, Judy Mowatt, Judy Mowatt, Judy Mowatt.
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.