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 Thailand and from Lyon.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1972.
I'm losing my edge.
To all the kids in Cairo and Delhi.
I'm losing my edge to the art-school London 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the harpsichord sounds with much patience.
I was there when Lou Reed 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 Kango’s Stein Massive to the rock kids.
I played it at the Troubador.
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 It's A Beautiful Day. All the underground hits.
All Avey Tare tracks. I heard you have a vinyl of every The Sound record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a mellotron and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Rotary Connection record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Whodini,
The Birthday Party,
Gian Franco Pienzio,
Orchestral Manoeuvres in the Dark,
Sarah Menescal,
The Stooges,
Pantaleimon,
Glenn Branca,
Eli Mardock,
Nation of Ulysses,
Von Mondo,
Nirvana,
The Monochrome Set,
Bobby Byrd,
Circle Jerks,
T. Rex,
The Martian,
Crooked Eye,
The Motions,
Reuben Wilson,
The Pop Group,
Harry Pussy,
Unrelated Segments,
the Fania All-Stars,
Neil Young & Crazy Horse,
Television Personalities,
Susan Cadogan,
Dual Sessions,
Isaac Hayes,
Outsiders,
Jacques Brel,
T.S.O.L.,
The Grass Roots,
Don Cherry,
Yazoo,
Lalann,
Peter Gordon & Love of Life Orchestra,
Rod Modell,
Kings Of Tomorrow,
Rhythim Is Rhythim,
The Standells,
Ludus,
This Heat,
Richard Hell and the Voidoids,
Gil Scott-Heron & Brian Jackson,
DJ Style,
Selector Dub Narcotic,
Can,
Saccharine Trust,
Dorothy Ashby,
Ajijia Myrayebe,
Bang On A Can,
Pere Ubu,
Carl Craig,
Talk Talk,
Das Ding,
Guru Guru,
Nik Kershaw,
the Swans,
Theoretical Girls,
Thee Headcoats, Thee Headcoats, Thee Headcoats, Thee Headcoats.
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.