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 Seychelles and from Mexico City.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Cairo and Hong Kong.
I'm losing my edge to the art-school Shanghai 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the harpsichord 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 Faraquet to the disco 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 Cabaret Voltaire. All the underground hits.
All Oppenheimer Analysis tracks. I heard you have a vinyl of every The Divine Comedy record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a theremin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a the Normal record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
DeepChord presents Echospace,
Crash Course in Science,
Fat Boys,
Young Marble Giants,
Derrick Morgan,
Scott Walker + Sunn O))),
the Slits,
Toni Rubio,
Pet Shop Boys,
Essential Logic,
Rahsaan Roland Kirk,
China Crisis,
Joyce Sims,
Captain Beefheart & His Magic Band,
A Certain Ratio,
Pussy Galore,
Beasts of Bourbon,
R.M.O.,
The Fortunes,
David Bowie,
The Beau Brummels,
Ajijia Myrayebe,
Faraquet,
The Doors,
Todd Rundgren,
Scion,
Au Pairs,
Derrick May,
Sad Lovers and Giants,
Supertramp,
Audionom,
Sly & The Family Stone,
The Zeros,
Brand Nubian,
The Men They Couldn't Hang,
The Moody Blues,
Absolute Body Control,
Terror Squad Feat. Camron,
Iggy Pop,
Jeru the Damaja,
Albert Ayler,
The Barracudas,
Soul Sonic Force,
The Slits,
Harpers Bizarre,
Don Cherry,
Ronnie Foster,
Rowland S Howard / Lydia Lunch,
Lightning Bolt,
Deutsch Amerikanische Freundschaft,
Thompson Twins,
Bang On A Can,
Interpol,
X-101,
Bauhaus,
Sonic Youth,
Joe Smooth,
Eric Dolphy,
Radiohead,
Sandy B,
the Human League,
Alton Ellis,
Crime, Crime, Crime, Crime.
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.