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 Philippines and from Columbus.
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 1968 to 1977.
I'm losing my edge.
To all the kids in Cairo and Tokyo.
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 1967 at the first Rodriguez practice in a loft in Detroit.
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 Scientists to the grime kids.
I played it at the 40 Watt.
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 Can. All the underground hits.
All Sarah Menescal tracks. I heard you have a vinyl of every Shuggie Otis 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 '50s cut and another box set from the '70s.
I hear you're buying an oboe and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Bobbi Humphrey record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Groovy Waters,
Clear Light,
Smog,
The Cramps,
Sight & Sound,
The Mighty Diamonds,
Art Ensemble Of Chicago,
Idris Muhammad,
Pete Rock & C.L. Smooth,
Louis and Bebe Barron,
Popol Vuh,
Rhythm & Sound,
Joe Smooth,
Colin Newman,
Nils Olav,
The Neon Judgement,
Hasil Adkins,
John Foxx,
Icehouse,
Pharaoh Sanders and the Fire Engines,
Mandrill,
Mary Jane Girls,
Sound Behaviour,
Quantec,
David Axelrod,
Eli Mardock,
Infiniti,
Byron Stingily,
Michelle Simonal,
The Remains,
Pole,
Ludus,
The Sonics,
These Immortal Souls,
The Cowsills,
The American Breed,
Angry Samoans,
The Golliwogs,
Boredoms,
Animal Collective,
Dorothy Ashby,
Can,
Matthew Bourne,
Todd Terry,
Liaisons Dangereuses,
Ash Ra Tempel,
Judy Mowatt,
Shoche,
Half Japanese,
Jerry's Kids,
Yaz,
the Normal,
Ponytail,
Yazoo,
Ronan,
Kauko Röyhkä ja Narttu,
Prince Buster,
DeepChord presents Echospace,
Delta 5,
Junior Murvin,
This Heat,
Public Image Ltd., Public Image Ltd., Public Image Ltd., Public Image Ltd..
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.