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 Equatorial Guinea and from Hong Kong.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Portland and Tokyo.
I'm losing my edge to the art-school Beijing 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 sitar 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 Laurel Aitken 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 Erasure. All the underground hits.
All Pharoah Sanders tracks. I heard you have a vinyl of every Saccharine Trust 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 '80s cut and another box set from the '70s.
I hear you're buying an oboe and a mellotron 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 sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Drive Like Jehu,
Connie Case,
Monks,
The Blues Magoos,
Todd Terry,
Con Funk Shun,
Neil Young & Crazy Horse,
La Düsseldorf,
Aaron Thompson,
Clear Light,
Marc Almond,
Von Mondo,
Siouxsie and the Banshees,
Oblivians,
ABBA,
Unrelated Segments,
Technova,
Sixth Finger,
Kool Moe Dee,
Bobby Hutcherson,
Brothers Johnson,
Jacob Miller,
Rahsaan Roland Kirk,
Hot Snakes,
Thinking Fellers Union Local 282,
Index,
Toni Rubio,
AZ,
the Soft Cell,
Sight & Sound,
Country Joe & The Fish,
Darondo,
John Cale,
Warsaw,
Lou Christie,
Moebius,
The Pop Group,
Barclay James Harvest,
Underground Resistance,
Porter Ricks,
Bobbi Humphrey,
Sonic Youth,
Gastr Del Sol,
Kings Of Tomorrow,
Nik Kershaw,
Fear,
Alison Limerick,
Super Lover Cee & Casanova Rud,
Altered Images,
Au Pairs,
Angels of Light & Akron/Family,
The Doors,
Dennis Brown,
the Germs,
kango's stein massive,
Eyeless In Gaza,
Swell Maps,
Jeru the Damaja,
Black Pus,
Freddie Wadling,
Nico,
Bootsy's Rubber Band,
Bootsy Collins, Bootsy Collins, Bootsy Collins, Bootsy Collins.
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.