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 Qatar and from Mexico City.
But I was there.
I was there in 1980.
I was there at the first Cybotron 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 1964 to 1971.
I'm losing my edge.
To all the kids in Shanghai and Manila.
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 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 Donald Fagen 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 Pretty Things to the punk 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 The Martian. All the underground hits.
All The Vogues tracks. I heard you have a vinyl of every Oppenheimer Analysis record on German import.
I heard that you have a white label of every seminal grunge 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 a sitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Fortunes record.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nas,
Rod Modell,
Kango’s Stein Massive,
Echo & the Bunnymen,
Franke,
Patti Smith,
Jacob Miller,
Deadbeat,
UT,
DJ Sneak,
Bootsy Collins,
Rowland S Howard / Lydia Lunch,
Davy DMX,
Harpers Bizarre,
The Victims,
Drive Like Jehu,
Rites of Spring,
Maurizio,
Delta 5,
Tomorrow,
Camberwell Now,
Animal Collective,
The Star Department,
48th St. Collective,
The Slits,
Ken Boothe,
Wire,
The Move,
Soft Cell,
The Dead C,
Skarface,
Zero Boys,
Negative Approach,
Harmonia,
The Fall,
Newcleus,
Lizzy Mercier Descloux,
Joe Smooth,
The Remains,
Ultra Naté,
Pole,
Kool Moe Dee,
Gil Scott-Heron and Jamie xx,
The Fortunes,
Livin' Joy,
Todd Terry,
Roy Ayers Ubiquity,
Lee Hazlewood,
The Mojo Men,
Morten Harket,
China Crisis,
Eddi Front,
Roxy Music,
The Birthday Party,
The Jesus and Mary Chain,
Connie Case,
The Durutti Column,
X-102,
Grey Daturas,
Fort Wilson Riot,
Supertramp,
Pete Rock & C.L. Smooth, Pete Rock & C.L. Smooth, Pete Rock & C.L. Smooth, Pete Rock & C.L. Smooth.
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.