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 Vietnam and from Hong Kong.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1969 to 1979.
I'm losing my edge.
To all the kids in Philadelphia and Woodstock.
I'm losing my edge to the art-school Portland 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 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 Jacques Brel. All the underground hits.
All The Moody Blues tracks. I heard you have a vinyl of every Clear Light 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 '80s cut and another box set from the '90s.
I hear you're buying a harpsichord and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Nirvana record.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scan 7,
Crispy Ambulance,
Vladislav Delay,
The Associates,
OOIOO,
The Peanut Butter Conspiracy,
Magazine,
John Holt,
New Age Steppers,
The Dead C,
Sly & The Family Stone,
The Mojo Men,
Bootsy Collins,
Camron Feat. Memphis Bleek And Beenie Seigel,
Notorious Big And Bone Thugs,
Dead Boys,
The Modern Lovers,
Eyeless In Gaza,
The Motions,
the Fania All-Stars,
The Invisible,
Siglo XX,
Deepchord,
Kaleidoscope,
Cluster,
Amon Düül,
Kango’s Stein Massive,
Donald Byrd,
Chris Corsano,
The Count Five,
Jandek,
Beasts of Bourbon,
Quadrant,
Arab on Radar,
Sarah Menescal,
Banda Bassotti,
Grey Daturas,
Crispian St. Peters,
The Slits,
Trumans Water,
X-102,
The Happenings,
Larry & the Blue Notes,
Frankie Knuckles,
Eli Mardock,
Jawbox,
The Cosmic Jokers,
Gichy Dan,
Wire,
Clear Light,
This Heat,
Scott Walker,
Scion,
Suicide,
June Days,
Laurel Aitken,
The Human League,
Scott Walker + Sunn O))),
Hardrive,
Index,
Saccharine Trust, Saccharine Trust, Saccharine Trust, Saccharine Trust.
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.