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 Switzerland and from Mexico City.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1965 to 1970.
I'm losing my edge.
To all the kids in Paris and Sao Paulo.
I'm losing my edge to the art-school Cairo 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 spring reverb sounds with much patience.
I was there when Tom Verlaine 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 Khruangbin to the disco 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 Gang Green. All the underground hits.
All Anthony Braxton tracks. I heard you have a vinyl of every Oblivians record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a mellotron and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Minny Pops record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Offenders,
The Index,
The Fall,
London Community Gospel Choir,
Procol Harum,
The Cure,
Ornette Coleman,
Goldenarms,
Chris Corsano,
The Monks,
The Happenings,
Ultravox,
Thompson Twins,
Audionom,
Boogie Down Productions,
Half Japanese,
Khruangbin,
X-Ray Spex,
The Doobie Brothers,
The Barracudas,
Massinfluence,
Zapp,
Jesper Dahlbäck,
The Knickerbockers,
Funkadelic,
the Soft Cell,
Amon Düül,
Amon Düül II,
Groovy Waters,
The Blackbyrds,
Schoolly D,
Notorious BIG live in Amsterdam,
The Gladiators,
Liaisons Dangereuses,
The Gun Club,
Eli Mardock,
Rotary Connection,
Mary Jane Girls,
cv313,
Popol Vuh,
The Last Poets,
Marvin Gaye,
Con Funk Shun,
Monolake,
China Crisis,
Kango’s Stein Massive,
Deepchord,
Teenage Jesus and the Jerks,
The Skatalites,
Glambeats Corp.,
Barbara Tucker,
Yusef Lateef,
Spandau Ballet,
Excepter,
Electric Light Orchestra,
Pharoah Sanders,
Colin Newman,
Gang of Four,
Faraquet,
U.S. Maple,
Jacques Brel,
Echo & the Bunnymen,
Stockholm Monsters, Stockholm Monsters, Stockholm Monsters, Stockholm Monsters.
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.