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 Kyrgyzstan and from Salvador.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Copenhagen and Philadelphia.
I'm losing my edge to the art-school Winnipeg 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 arpeggiator 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 Sound to the punk 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 The Monks. All the underground hits.
All New York Dolls tracks. I heard you have a vinyl of every Aloha Tigers record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a synthesizer and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Gastr Del Sol record.
I hear that you and your band have sold your mellotron and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Techniques,
DJ Style,
Crash Course in Science,
Chris & Cosey,
Neil Young,
Rhythim Is Rhythim,
Jacques Brel,
DeepChord presents Echospace,
Davy DMX,
Easy Going,
Masters at Work,
Organ,
Boz Scaggs,
The Cure,
Pantaleimon,
Mars,
Goldenarms,
The Five Americans,
Interpol,
The American Breed,
Ash Ra Tempel,
The Electric Prunes,
Ludus,
Scientists,
Zero Boys,
Traffic Nightmare,
The Seeds,
Sonny Sharrock,
Frankie Knuckles,
Lyres,
Liliput,
Banda Bassotti,
Infiniti,
Mad Mike,
Flipper,
Gang Green,
Fort Wilson Riot,
Leonard Cohen,
Harpers Bizarre,
Morten Harket,
The Last Poets,
Harmonia,
Spandau Ballet,
Dr. Dre and Snoop Doggy Dog,
Section 25,
Neu!,
June Days,
Magazine,
The Pop Group,
Parry Music,
Röyhkä ja Rättö ja Lehtisalo,
Terror Squad Feat. Camron,
Glambeats Corp.,
Ultra Naté,
Arthur Verocai,
Roger Hodgson,
DJ Sneak,
James Chance & The Contortions,
Susan Cadogan,
The Dead C, The Dead C, The Dead C, The Dead C.
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.