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 Albania and from Spokane.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1962 to 1970.
I'm losing my edge.
To all the kids in London and Cairo.
I'm losing my edge to the art-school Calgary 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the harpsichord 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 Flash Fearless to the rock 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 Sonic Youth. All the underground hits.
All Masters at Work tracks. I heard you have a vinyl of every Amazonics record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a synthesizer and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Siglo XX record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Matthew Bourne,
The Standells,
Essential Logic,
Roxy Music,
Niagra,
Y Pants,
Khruangbin,
Bill Near,
Rotary Connection,
Drive Like Jehu,
Ken Boothe,
Peter & Gordon,
Black Flag,
Justin Hinds & The Dominoes,
London Community Gospel Choir,
Amon Düül II,
Grandmaster Flash and the Furious Five,
Los Fastidios,
Fifty Foot Hose,
Eli Mardock,
Saccharine Trust,
Minny Pops,
The Techniques,
PIL,
Dark Day,
EPMD,
the Sonics,
Supertramp,
Slave,
X-Ray Spex,
Tres Demented,
Mark Hollis,
Swell Maps,
Q65,
Hasil Adkins,
Jimmy McGriff,
Electric Light Orchestra,
Pole,
The Young Rascals,
The United States of America,
Eric Dolphy,
Gichy Dan,
Fear,
Eurythmics,
Public Image Ltd.,
The Star Department,
The Leaves,
Rowland S Howard / Lydia Lunch,
Letta Mbulu,
Ajijia Myrayebe,
Rakim,
Ponytail,
Lakeside,
MC5,
Byron Stingily,
Boredoms,
Average White Band,
Arthur Verocai,
Mission of Burma,
Marshall Jefferson,
Babytalk, Babytalk, Babytalk, Babytalk.
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.