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 Maldives and from Columbus.
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 1964 to 1977.
I'm losing my edge.
To all the kids in London and Lyon.
I'm losing my edge to the art-school London 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 at the first Suicide practice in a loft in New York.
I was working on the spring reverb 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 Peter and Kerry to the punk 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 Icehouse. All the underground hits.
All Sugar Minott tracks. I heard you have a vinyl of every The Golliwogs 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 '80s cut and another box set from the '90s.
I hear you're buying a snare and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Eric Copeland record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Neil Young & Crazy Horse,
Gil Scott-Heron & Brian Jackson,
kango's stein massive,
Faust,
Slave,
Kool G Rap & DJ Polo,
Heavy D & The Boyz,
Max Romeo,
Sunsets and Hearts,
Lebanon Hanover,
A Certain Ratio,
Lakeside,
Girls At Our Best!,
cv313,
The Detroit Cobras,
Pierre Henry,
Wings,
Von Mondo,
Pere Ubu,
the Slits,
Los Fastidios,
The Angels of Light,
Grandmaster Flash and the Furious Five,
Section 25,
Lou Reed & John Cale,
Gian Franco Pienzio,
ABBA,
Anthony Braxton,
Bobby Byrd,
Crispy Ambulance,
The Pop Group,
Byron Stingily,
Tommy Roe,
Isaac Hayes,
Camron Feat. Memphis Bleek And Beenie Seigel,
Michelle Simonal,
Strawberry Alarm Clock,
John Holt,
Banda Bassotti,
AZ,
Jimmy McGriff,
Sandy B,
Mary Jane Girls,
Quadrant,
Grauzone,
The Cramps,
Lee Hazlewood,
The Index,
Art Ensemble Of Chicago,
Ultravox,
Terrestrial Tones,
Little Man,
L. Decosne,
Deadbeat,
Skaos,
Khruangbin,
Ohio Players,
Terror Squad Feat. Camron,
Lungfish,
Dual Sessions,
The Golliwogs,
Nils Olav, Nils Olav, Nils Olav, Nils Olav.
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.