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 Tuvalu and from Calgary.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1961 to 1978.
I'm losing my edge.
To all the kids in Milan and London.
I'm losing my edge to the art-school Copenhagen 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 1973 at the first Television practice in a loft in New York.
I was working on the oboe 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 The Five Americans to the punk kids.
I played it at the Hacienda.
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 Desert Stars. All the underground hits.
All The Index tracks. I heard you have a vinyl of every Jesper Dahlbäck record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a clarinet and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Grandmaster Flash record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Mojo Men,
Matthew Halsall,
Royal Trux,
Gary Puckett & The Union Gap,
Girls At Our Best!,
Blossom Toes,
Agent Orange,
Wolf Eyes,
Lou Christie,
Juan Atkins,
Graham Central Station,
Don Cherry,
Louis and Bebe Barron,
Ponytail,
DJ Sneak,
Glenn Branca,
Marcia Griffiths,
The Music Machine,
The Peanut Butter Conspiracy,
the Soft Cell,
Derrick Morgan,
Byron Stingily,
Man Parrish,
Joensuu 1685,
Q65,
Soul Sonic Force,
Patti Smith,
Half Japanese,
The Standells,
The Dead C,
Lower 48,
The Velvet Underground,
Frankie Knuckles,
Wighnomy Brothers & Robag Wruhme,
Sad Lovers and Giants,
The Angels of Light,
Tim Buckley,
Vainqueur,
Albert Ayler,
Ronan,
Peter Gordon & Love of Life Orchestra,
the Human League,
Negative Approach,
David Axelrod,
Kevin Saunderson,
Das Ding,
Japan,
The Gladiators,
Funky Four + One,
The Gories,
Leonard Cohen,
Livin' Joy,
Marvin Gaye,
Black Sheep,
Dual Sessions,
Sarah Menescal,
Strawberry Alarm Clock,
The Cosmic Jokers,
Charles Mingus,
Main Source,
The Jesus and Mary Chain,
Avey Tare,
Laurel Aitken,
The Cure,
Bill Wells, Bill Wells, Bill Wells, Bill Wells.
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.