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 Slovakia and from London.
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 1972.
I'm losing my edge.
To all the kids in Glasgow and Winnipeg.
I'm losing my edge to the art-school New York 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 Mistral practice in a loft in Amsterdam.
I was working on the mellotron 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 Gil Scott-Heron and Jamie xx to the crunk kids.
I played it at the Roxy.
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 This Heat. All the underground hits.
All Au Pairs tracks. I heard you have a vinyl of every Peter & Gordon 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 '70s cut and another box set from the '70s.
I hear you're buying a marimba and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Be Bop Deluxe record.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Harry Pussy,
Camron Feat. Memphis Bleek And Beenie Seigel,
Black Sheep,
The Detroit Cobras,
Rufus Thomas,
The Mighty Diamonds,
Sixth Finger,
Ken Boothe,
Mad Mike,
Delta 5,
Jacques Brel,
The Star Department,
Lou Reed & Metallica,
Joe Finger,
Harmonia,
Black Pus,
Minnie Riperton,
Pete Rock & C.L. Smooth,
The Residents,
Lyres,
Khruangbin,
The Sisters of Mercy,
Negative Approach,
Erasure,
Cameo,
Drive Like Jehu,
China Crisis,
Jeff Lynne,
Das Ding,
Scrapy,
The Leaves,
The Searchers,
Traffic Nightmare,
Monks,
B.T. Express,
The Seeds,
Cecil Taylor,
Kerrie Biddell,
Cluster,
Louis and Bebe Barron,
Barrington Levy,
10cc,
Morten Harket,
Angry Samoans,
the Normal,
Deadbeat,
Monolake,
Byron Stingily,
Lucky Dragons,
Quantec,
Derrick Morgan,
Throbbing Gristle,
The Buckinghams,
Model 500,
John Coltrane,
A Flock of Seagulls,
The Count Five,
Crispy Ambulance,
The Monks,
Gang Green,
Infiniti,
Blancmange,
Joensuu 1685, Joensuu 1685, Joensuu 1685, Joensuu 1685.
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.