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 Somalia and from Tehran.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Tehran and Columbus.
I'm losing my edge to the art-school Lyon 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the mellotron 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 Peter & Gordon to the dance 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 Vladislav Delay. All the underground hits.
All The Barracudas tracks. I heard you have a vinyl of every Al Stewart record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Yazoo 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?
Kool Moe Dee,
Juan Atkins,
Sandy B,
Stereo Dub,
Bill Wells,
Mary Jane Girls,
Tomorrow,
Sun City Girls,
The Monochrome Set,
Marvin Gaye,
Angels of Light & Akron/Family,
Royal Trux,
the Human League,
The Remains,
Kaleidoscope,
U.S. Maple,
Sun Ra Arkestra,
Crash Course in Science,
The Neon Judgement,
cv313,
Ajijia Myrayebe,
The J.B.'s,
Radio Birdman,
Newcleus,
FM Einheit,
Terry Callier,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
DJ Sneak,
Fifty Foot Hose,
The Gories,
Piero Umiliani,
Severed Heads,
Soft Machine,
The Electric Prunes,
Pole,
Pere Ubu,
Monolake,
Robert Hood,
X-Ray Spex,
Toni Rubio,
Strawberry Alarm Clock,
Radiohead,
the Fania All-Stars,
Soul Sonic Force,
Los Fastidios,
Sam Rivers,
Talk Talk,
Depeche Mode,
Panda Bear,
Ken Boothe,
Deakin,
Bob Dylan,
Stockholm Monsters,
Rakim,
Cecil Taylor,
Blake Baxter,
Quadrant,
Rites of Spring,
the Slits, the Slits, the Slits, the Slits.
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.