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 Czech Republic and from Edmonton.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Winnipeg and Beijing.
I'm losing my edge to the art-school Woodstock 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 spring reverb sounds with much patience.
I was there when Michael McDonald 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 Nas to the jazz 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 Seeds. All the underground hits.
All John Foxx tracks. I heard you have a vinyl of every Bobby Hutcherson record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a harpsichord and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Glenn Branca record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Excepter,
Notorious Big And Bone Thugs,
Bobby Womack,
Teenage Jesus and the Jerks,
Bootsy's Rubber Band,
Sun Ra Arkestra,
Skriet,
Sixth Finger,
The Barracudas,
Black Moon,
The Standells,
Kerri Chandler,
Accadde A,
Wally Richardson,
DeepChord presents Echospace,
Ornette Coleman,
Section 25,
The Alarm Clocks,
Pete Rock & C.L. Smooth,
Roxy Music,
Liaisons Dangereuses,
Laurel Aitken,
Kayak,
Zapp,
48th St. Collective,
Visionaries,LMNO, T- Love & Iriscience,
Rowland S Howard / Lydia Lunch,
Oblivians,
F. McDonald,
Avey Tare & Kría Brekkan,
The Star Department,
kango's stein massive,
Technova,
K-Klass,
The Cowsills,
Gang Green,
Bobby Byrd,
Supertramp,
Pylon,
Stetsasonic,
Niagra,
The Offenders,
The Black Dice,
London Community Gospel Choir,
Y Pants,
Aural Exciters,
Robert Görl,
The Mummies,
Kurtis Blow,
Don Cherry,
The Trojans,
The Tremeloes,
June of 44,
Fort Wilson Riot,
Country Teasers,
Wasted Youth,
Thee Headcoats,
Pierre Henry,
Scott Walker + Sunn O))),
Gil Scott Heron,
Shoche,
8 Eyed Spy,
Terrestrial Tones,
Adolescents, Adolescents, Adolescents, Adolescents.
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.