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 South Sudan and from Jakarta.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1977.
I'm losing my edge.
To all the kids in Columbus and Philadelphia.
I'm losing my edge to the art-school Portland 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the chamberlin sounds with much patience.
I was there when Robert Palmer 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 Severed Heads to the funk 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 Mandrill. All the underground hits.
All Unwound tracks. I heard you have a vinyl of every The Associates 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 '80s cut and another box set from the '90s.
I hear you're buying a harpsichord and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Monks record.
I hear that you and your band have sold your spring reverb and bought a snare.
I hear that you and your band have sold your snare and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Neu!,
Pole,
Ituana,
Albert Ayler,
Television,
The Red Krayola,
Arcadia,
Donny Hathaway,
Liliput,
Howard Jones,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Pop Group,
Essential Logic,
Skriet,
John Lydon,
Technova,
Interpol,
Piero Umiliani,
the Soft Cell,
Jimmy McGriff,
Joe Finger,
Pierre Henry,
Lucky Dragons,
Thompson Twins,
Gang Starr,
Patti Smith,
Roger Hodgson,
Fela Kuti,
John Coltrane,
Kerri Chandler,
Qualms,
The Mighty Diamonds,
Tears for Fears,
Sixth Finger,
Eric Dolphy,
Alton Ellis,
Blancmange,
Judy Mowatt,
The Fire Engines,
Stereo Dub,
Soft Machine,
Peter and Kerry,
New York Dolls,
Marmalade,
The Wake,
Scott Walker,
This Heat,
The Barracudas,
R.M.O.,
Pagans,
Shoche,
Hasil Adkins,
Jacques Brel,
Fatback Band,
DNA,
The Music Machine,
The Divine Comedy,
Rakim,
The New Christs,
The Happenings,
Leonard Cohen,
Marine Girls,
Laurel Aitken,
Scrapy,
Röyhkä ja Rättö ja Lehtisalo, Röyhkä ja Rättö ja Lehtisalo, Röyhkä ja Rättö ja Lehtisalo, Röyhkä ja Rättö ja Lehtisalo.
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.