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 India and from Sao Paulo.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Bremen and Manila.
I'm losing my edge to the art-school Woodstock 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 chamberlin 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 Lizzy Mercier Descloux to the grime kids.
I played it at the Roxy.
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 Slave. All the underground hits.
All Pet Shop Boys tracks. I heard you have a vinyl of every F. McDonald 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 '90s.
I hear you're buying a 808 and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a One Last Wish record.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hardrive,
Flash Fearless,
Heaven 17,
Lou Reed,
Beasts of Bourbon,
Goldenarms,
Kerri Chandler,
Drive Like Jehu,
Kevin Saunderson,
Maurizio,
The Divine Comedy,
Vladislav Delay,
Massinfluence,
The Index,
Rakim,
X-Ray Spex,
Grandmaster Flash and the Furious Five,
The Remains,
Todd Rundgren,
Jesper Dahlback,
Pulsallama,
Robert Hood,
Japan,
Manfred Mann's Earth Band,
Dawn Penn,
Lonnie Liston Smith,
Saccharine Trust,
Glambeats Corp.,
Severed Heads,
Das Ding,
Brand Nubian,
Tom Boy,
Sly & The Family Stone,
Grandmaster Flash,
The Evens,
Pantaleimon,
Ohio Players,
The Tremeloes,
David Bowie,
Hot Snakes,
Jerry's Kids,
Faust,
Neu!,
Lakeside,
Tropical Tobacco,
Gong,
Crooked Eye,
Khruangbin,
Grauzone,
Scientists,
Sound Behaviour,
Robert Görl,
Dual Sessions,
D'Angelo,
Lindisfarne,
June of 44,
Young Marble Giants,
Black Bananas,
Orchestral Manoeuvres in the Dark,
Jawbox,
Subhumans,
Patti Smith, Patti Smith, Patti Smith, Patti Smith.
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.