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 East Timor and from Sao Paulo.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Spokane and Portland.
I'm losing my edge to the art-school Hong Kong 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 oboe 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 Sandy B to the rock kids.
I played it at Trash.
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 Aaron Thompson. All the underground hits.
All Peter Gordon & Love of Life Orchestra tracks. I heard you have a vinyl of every Flash Fearless record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a sitar and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Tomorrow record.
I hear that you and your band have sold your rhodes and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Smiths,
Gil Scott Heron,
Faraquet,
The Blackbyrds,
Boogie Down Productions,
Livin' Joy,
Ultravox,
the Swans,
The Gap Band,
Black Flag,
The Techniques,
Don Cherry,
Saccharine Trust,
Deutsch Amerikanische Freundschaft,
Sparks,
Kauko Röyhkä ja Narttu,
Johnny Osbourne,
Chris Corsano,
The Remains,
Sunsets and Hearts,
Oneida,
Big Daddy Kane,
Young Marble Giants,
The West Coast Pop Art Experimental Band,
The Durutti Column,
Neil Young,
Khruangbin,
Index,
Magma,
Chris & Cosey,
Skaos,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Birthday Party,
Gichy Dan,
Los Fastidios,
Yaz,
The Victims,
Swell Maps,
The Vogues,
The United States of America,
Kenny Larkin,
The Associates,
Cybotron,
Roy Ayers Ubiquity,
Danielle Patucci,
Half Japanese,
John Coltrane,
Gastr Del Sol,
Gabor Szabo,
Mark Hollis,
Jawbox,
the Fania All-Stars,
Bootsy's Rubber Band,
The Alarm Clocks,
Amon Düül II,
Liliput,
Duran Duran,
Scott Walker + Sunn O))),
Flash Fearless,
Piero Umiliani,
Neu!,
Joe Smooth,
Main Source, Main Source, Main Source, Main Source.
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.