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 Denmark and from Jakarta.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Calgary and Manila.
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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the rhodes 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 Lou Reed to the techno 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 West Coast Pop Art Experimental Band. All the underground hits.
All Be Bop Deluxe tracks. I heard you have a vinyl of every Vaughan Mason & Crew 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 '60s cut and another box set from the '80s.
I hear you're buying a sitar and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Jacques Brel record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joey Negro,
Drive Like Jehu,
Ajijia Myrayebe,
Country Joe & The Fish,
The Red Krayola,
Bootsy's Rubber Band,
Röyhkä ja Rättö ja Lehtisalo,
Ultimate Spinach,
Sunsets and Hearts,
Nick Cave & The Bad Seeds,
Mad Mike,
Marc Romboy vs. Booka Shade,
Babytalk,
Scientists,
Newcleus,
Barrington Levy,
Black Flag,
Fluxion,
Skriet,
Jerry's Kids,
Sugar Minott,
Electric Prunes,
Bobby Sherman,
Magma,
Jacques Brel,
Delon & Dalcan,
Neu!,
Warsaw,
Sun City Girls,
Alice Coltrane,
Negative Approach,
Lou Reed & John Cale,
Neil Young,
Swans,
The Moody Blues,
Minor Threat,
Howard Jones,
Rotary Connection,
Bush Tetras,
Magazine,
Neil Young & Crazy Horse,
The Music Machine,
Godley & Creme,
Schoolly D,
Tears for Fears,
Stockholm Monsters,
Basic Channel,
The Fuzztones,
Matthew Bourne,
The Monochrome Set,
Lou Reed,
Intrusion,
Banda Bassotti,
Model 500,
John Cale,
Girls At Our Best!,
Rakim,
The Real Kids,
Silicon Teens,
New Age Steppers, New Age Steppers, New Age Steppers, New Age Steppers.
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.