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 Chile and from Salvador.
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 1978.
I'm losing my edge.
To all the kids in Portland and Sao Paulo.
I'm losing my edge to the art-school Jakarta 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the spring reverb sounds with much patience.
I was there when Nile Rodgers 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 DeepChord presents Echospace to the disco kids.
I played it at the Hacienda.
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 Blancmange. All the underground hits.
All Sarah Menescal tracks. I heard you have a vinyl of every Faraquet record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying an oboe and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Godley & Creme record.
I hear that you and your band have sold your oboe and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Swans,
Scott Walker + Sunn O))),
Kayak,
The New Christs,
Siouxsie and the Banshees,
David Axelrod,
Graham Central Station,
Technova,
The Doors,
Gil Scott-Heron and Jamie xx,
The Mummies,
Faust,
Blancmange,
Crash Course in Science,
Kas Product,
Throbbing Gristle,
Barry Ungar,
Crispy Ambulance,
Goldenarms,
Ornette Coleman,
Maurizio,
The Men They Couldn't Hang,
Quadrant,
Hot Snakes,
Bobby Byrd,
The West Coast Pop Art Experimental Band,
The Martian,
Deutsch Amerikanische Freundschaft,
U.S. Maple,
AZ,
Big Daddy Kane,
Stiv Bators,
The United States of America,
Gil Scott-Heron & Brian Jackson,
The Saints,
Ken Boothe,
Lizzy Mercier Descloux,
Lightning Bolt,
Kings Of Tomorrow,
Alphaville,
Country Teasers,
Aaron Thompson,
Joe Smooth,
The Alarm Clocks,
Agent Orange,
Fort Wilson Riot,
Flamin' Groovies,
Pierre Henry,
Warsaw,
Cal Tjader,
Lebanon Hanover,
Matthew Halsall,
Robert Wyatt,
Inner City,
Jeff Mills,
The Neon Judgement,
Public Image Ltd.,
Chrome,
Warren Ellis, Warren Ellis, Warren Ellis, Warren Ellis.
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.