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 Kosovo and from Madrid.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Lyon and Spokane.
I'm losing my edge to the art-school Bologna 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 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 Los Fastidios to the disco 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 Thee Headcoats. All the underground hits.
All Blancmange tracks. I heard you have a vinyl of every The Smiths record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a 48th St. Collective record.
I hear that you and your band have sold your spring reverb and bought a 808.
I hear that you and your band have sold your 808 and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bobby Byrd,
Bobby Sherman,
Boogie Down Productions,
Fat Boys,
The Tremeloes,
The Jesus and Mary Chain,
Drive Like Jehu,
Moss Icon,
Magazine,
The Pop Group,
10cc,
Eurythmics,
Byron Stingily,
Stereo Dub,
Juan Atkins,
Cybotron,
Audionom,
Davy DMX,
Agent Orange,
Boz Scaggs,
Strawberry Alarm Clock,
Black Moon,
The Trojans,
Scientists,
KRS-One,
Tommy Roe,
Ossler,
Inner City,
Symarip,
Country Teasers,
Traffic Nightmare,
Brothers Johnson,
Eric Dolphy,
The Electric Prunes,
Andrew Ashong & Theo Parrish,
Jeru the Damaja,
Delta 5,
The Toasters,
The Birthday Party,
The Mummies,
Arcadia,
The Count Five,
Parry Music,
Bobbi Humphrey,
Camouflage,
X-Ray Spex,
Nirvana,
Whodini,
Teenage Jesus and the Jerks,
Unrelated Segments,
Gary Puckett & The Union Gap,
Avey Tare's Slasher Flicks,
Idris Muhammad,
Eyeless In Gaza,
Can,
The Cosmic Jokers,
Arthur Verocai,
Yusef Lateef,
These Immortal Souls,
Steve Hackett,
The Kinks, The Kinks, The Kinks, The Kinks.
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.