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 Laos and from Toronto.
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 1974.
I'm losing my edge.
To all the kids in Sao Paulo and Johannesburg.
I'm losing my edge to the art-school Bremen 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the rhodes 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 The Alarm Clocks to the jazz kids.
I played it at the 40 Watt.
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 Skaos. All the underground hits.
All Theoretical Girls tracks. I heard you have a vinyl of every Juan Atkins 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 '50s cut and another box set from the '80s.
I hear you're buying a clarinet and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your rhodes and bought a mellotron.
I hear that you and your band have sold your mellotron 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 Litter,
X-102,
Gabor Szabo,
Cabaret Voltaire,
Scan 7,
Rosa Yemen,
Kenny Larkin,
The Electric Prunes,
FM Einheit,
The Modern Lovers,
James Chance & The Contortions,
Joe Finger,
Bad Manners,
Ultravox,
Soft Cell,
Lindisfarne,
Bill Near,
Girls At Our Best!,
The Cramps,
Scratch Acid,
Vainqueur,
Neu!,
Michelle Simonal,
Quadrant,
Flash Fearless,
The Durutti Column,
Bob Dylan,
Camberwell Now,
Royal Trux,
Fat Boys,
The Cowsills,
Jesper Dahlback,
Joy Division,
Rod Modell,
Duran Duran,
Ossler,
Angels of Light & Akron/Family,
The West Coast Pop Art Experimental Band,
Popol Vuh,
Pantaleimon,
Nas,
Joensuu 1685,
Bush Tetras,
H. Thieme,
Eric Dolphy,
Robert Hood,
Terrestrial Tones,
Roy Ayers,
Mr. Review,
Procol Harum,
Camron Feat. Jay Z And Juelz,
Soul II Soul,
Buzzcocks,
It's A Beautiful Day,
Tim Buckley,
Warren Ellis,
Amon Düül II,
The Grass Roots,
Sam Rivers,
Freddie Wadling,
Beasts of Bourbon, Beasts of Bourbon, Beasts of Bourbon, Beasts of Bourbon.
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.