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 Israel and from Stockholm.
But I was there.
I was there in 1983.
I was there at the first Bronski Beat show in Brixton.
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 1973.
I'm losing my edge.
To all the kids in Salvador and Jakarta.
I'm losing my edge to the art-school Bologna 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 theremin sounds with much patience.
I was there when Michael McDonald 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 Jandek to the grunge kids.
I played it at the Astoria.
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 New Age Steppers. All the underground hits.
All The Fuzztones tracks. I heard you have a vinyl of every James White and The Blacks record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a linndrum and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Sandy B record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soft Machine,
Strawberry Alarm Clock,
Gil Scott-Heron & Brian Jackson,
Rotary Connection,
Fifty Foot Hose,
Orchestral Manoeuvres in the Dark,
Röyhkä ja Rättö ja Lehtisalo,
UT,
Pylon,
Minnie Riperton,
Brothers Johnson,
Scott Walker + Sunn O))),
Lou Reed,
Kings Of Tomorrow,
X-101,
James Chance & The Contortions,
The Monochrome Set,
Marc Romboy vs. Booka Shade,
Pulsallama,
Art Ensemble Of Chicago,
The Remains,
The Men They Couldn't Hang,
N.O.R.E. Featuring Pharrell,
ABC,
Buzzcocks,
Siglo XX,
Flipper,
Das Ding,
Motorama,
Rites of Spring,
Harmonia,
Anakelly,
Joensuu 1685,
The Modern Lovers,
Quadrant,
Donald Byrd,
T. Rex,
The Skatalites,
The Velvet Underground,
Peter and Kerry,
Los Fastidios,
The Blackbyrds,
Janne Schatter,
The Divine Comedy,
Public Image Ltd.,
Lightning Bolt,
Kauko Röyhkä ja Narttu,
Jerry's Kids,
Gil Scott-Heron and Jamie xx,
Radio Birdman,
T.S.O.L.,
Make Up,
The Doobie Brothers,
Angry Samoans,
Altered Images,
The Smoke,
Harry Pussy,
Lucky Dragons,
Robert Wyatt,
Bauhaus,
Deakin,
Surgeon, Surgeon, Surgeon, Surgeon.
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.