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 Benin and from Spokane.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1974.
I'm losing my edge.
To all the kids in Sao Paulo and Mumbai.
I'm losing my edge to the art-school Stockholm 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the sitar sounds with much patience.
I was there when Tom Verlaine 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 Ken Boothe to the jazz kids.
I played it at the Crocodile.
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 Deakin. All the underground hits.
All Traffic Nightmare tracks. I heard you have a vinyl of every Harry Pussy 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 '70s cut and another box set from the '90s.
I hear you're buying a mellotron and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a the Normal record.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Robert Hood,
the Fania All-Stars,
Laurel Aitken,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Monks,
Roxette,
Kas Product,
Whodini,
The Kinks,
Ajijia Myrayebe,
The Sound,
The Associates,
Gian Franco Pienzio,
Khruangbin,
Liaisons Dangereuses,
Marc Almond,
Jacques Brel,
Piero Umiliani,
Bill Wells,
Alice Coltrane,
Blake Baxter,
Don Cherry,
Ossler,
Vladislav Delay,
Franke,
the Normal,
Vaughan Mason & Crew,
Roxy Music,
Magazine,
The Pop Group,
the Swans,
Echospace,
It's A Beautiful Day,
Accadde A,
Freddie Wadling,
The Sonics,
Cal Tjader,
Pussy Galore,
Moss Icon,
Royal Trux,
Parry Music,
Mission of Burma,
Andrew Ashong & Theo Parrish,
JFA,
Gary Puckett & The Union Gap,
Groovy Waters,
Charles Mingus,
Japan,
Lou Reed,
Jimmy McGriff,
Radiohead,
kango's stein massive,
Scrapy,
Joy Division,
Depeche Mode,
LL Cool J,
Danielle Patucci,
The Men They Couldn't Hang,
Bang On A Can,
Angry Samoans,
The Fortunes,
Brass Construction, Brass Construction, Brass Construction, Brass Construction.
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.