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 Portugal and from Salvador.
But I was there.
I was there in 1967.
I was there at the first Rodriguez 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 1968 to 1973.
I'm losing my edge.
To all the kids in Portland and Mexico City.
I'm losing my edge to the art-school Manchester 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 1968 at the first Can practice in a loft in Cologne.
I was working on the mellotron 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 Nirvana 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 Traffic Nightmare. All the underground hits.
All Matthew Halsall tracks. I heard you have a vinyl of every Procol Harum record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a harpsichord and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Minor Threat record.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roxette,
Kool G Rap & DJ Polo,
Glambeats Corp.,
Kerrie Biddell,
Bobby Byrd,
Matthew Bourne,
Gerry Rafferty,
Eddi Front,
Terry Callier,
The Mighty Diamonds,
The Smiths,
Lizzy Mercier Descloux,
L. Decosne,
The Offenders,
The Fuzztones,
Bauhaus,
Wings,
Harmonia,
The Modern Lovers,
Altered Images,
Gang Gang Dance,
T.S.O.L.,
the Human League,
The Golliwogs,
Black Pus,
Tropical Tobacco,
Desert Stars,
One Last Wish,
Piero Umiliani,
Leonard Cohen,
Pagans,
Bob Dylan,
Public Image Ltd.,
Al Stewart,
Crime,
Jandek,
Buzzcocks,
London Community Gospel Choir,
the Bar-Kays,
Yazoo,
Amon Düül,
Bush Tetras,
Flipper,
Bang On A Can,
Archie Shepp,
JFA,
Bootsy's Rubber Band,
The Vogues,
Stiv Bators,
Parry Music,
Joe Finger,
Warsaw,
These Immortal Souls,
Yellowson,
Gong,
Junior Murvin,
Unwound,
Crispy Ambulance,
Soft Cell,
Absolute Body Control,
Joe Smooth,
Unrelated Segments, Unrelated Segments, Unrelated Segments, Unrelated Segments.
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.