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 Bahrain and from Cairo.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Woodstock and Woodstock.
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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the harpsichord sounds with much patience.
I was there when Holger Czukay 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 The Count Five to the punk kids.
I played it at Trash.
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 The Remains. All the underground hits.
All Ponytail tracks. I heard you have a vinyl of every Spandau Ballet record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a harpsichord and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Strawberry Alarm Clock record.
I hear that you and your band have sold your linndrum and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
48th St. Collective,
Sarah Menescal,
Little Man,
The Last Poets,
Faraquet,
Soft Machine,
Byron Stingily,
the Sonics,
The J.B.'s,
Kurtis Blow,
The Jesus and Mary Chain,
Lee Hazlewood,
Black Flag,
Neil Young,
Model 500,
the Normal,
Donny Hathaway,
Alton Ellis,
Pet Shop Boys,
Rahsaan Roland Kirk,
The Gun Club,
The Offenders,
Outsiders,
Accadde A,
Dorothy Ashby,
Rufus Thomas,
Arab on Radar,
The Fuzztones,
Soulsonic Force,
Sugar Minott,
It's A Beautiful Day,
Q65,
Lou Reed & John Cale,
Newcleus,
Blake Baxter,
Hashim,
Andrew Ashong & Theo Parrish,
Sixth Finger,
Radiohead,
The Cramps,
Danielle Patucci,
Minor Threat,
Q and Not U,
Angels of Light & Akron/Family,
Slick Rick,
Teenage Jesus and the Jerks,
Leonard Cohen,
Eyeless In Gaza,
Robert Görl,
Bang on a Can All-Stars,
Marine Girls,
Archie Shepp,
Gary Puckett & The Union Gap,
Marshall Jefferson,
Livin' Joy,
New Order,
Royal Trux,
Bluetip,
Chrome,
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.