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 Ukraine and from Houston.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Hong Kong and Lyon.
I'm losing my edge to the art-school Seoul 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 Human League practice in a loft in Sheffield.
I was working on the linndrum sounds with much patience.
I was there when Robert Palmer 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 Procol Harum to the dance kids.
I played it at Cafe Wha.
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 Doors. All the underground hits.
All The Peanut Butter Conspiracy tracks. I heard you have a vinyl of every Metal Thangz record on German import.
I heard that you have a white label of every seminal techno 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 a linndrum and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Peter and Kerry record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pierre Henry,
The Move,
Desert Stars,
Teenage Jesus and the Jerks,
Neil Young & Crazy Horse,
KRS-One,
Lower 48,
Sandy B,
World's Most,
Severed Heads,
The Moleskins,
Kauko Röyhkä ja Narttu,
Silicon Teens,
Second Layer,
Maleditus Sound,
June of 44,
Gil Scott Heron,
Yusef Lateef,
Bill Wells,
The Martian,
Franke,
Dark Day,
Ludus,
Jandek,
David Axelrod,
Michelle Simonal,
The Vogues,
Eve St. Jones,
Sex Pistols,
The West Coast Pop Art Experimental Band,
Deadbeat,
Tres Demented,
Interpol,
Ajijia Myrayebe,
Barrington Levy,
Monks,
Surgeon,
The Walker Brothers,
Vladislav Delay,
Bush Tetras,
Unrelated Segments,
Bobbi Humphrey,
OOIOO,
The Invisible,
Warren Ellis,
Shoche,
Swell Maps,
Kango’s Stein Massive,
Stiv Bators,
Donny Hathaway,
Skarface,
The Sisters of Mercy,
Patti Smith,
Lonnie Liston Smith,
Jeru the Damaja,
Soul II Soul,
The Barracudas,
Bobby Hutcherson,
Grey Daturas,
Mad Mike,
The New Christs,
Goldenarms, Goldenarms, Goldenarms, Goldenarms.
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.