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 Bhutan and from Winnipeg.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1973.
I'm losing my edge.
To all the kids in Philadelphia and Seoul.
I'm losing my edge to the art-school Johannesburg 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the sitar 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 R.M.O. to the techno 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 Flamin' Groovies. All the underground hits.
All Hardrive tracks. I heard you have a vinyl of every Amazonics record on German import.
I heard that you have a white label of every seminal disco 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 snare and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Dual Sessions 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?
Skriet,
The Mojo Men,
Röyhkä ja Rättö ja Lehtisalo,
L. Decosne,
Kauko Röyhkä ja Narttu,
Shuggie Otis,
Soft Cell,
Au Pairs,
Soul II Soul,
Hasil Adkins,
The Mighty Diamonds,
Ten City,
The Cramps,
Khruangbin,
Ludus,
Eric Dolphy,
Ossler,
Mr. Review,
Camberwell Now,
Amazonics,
John Coltrane,
Kayak,
Sad Lovers and Giants,
Louis and Bebe Barron,
Manfred Mann's Earth Band,
Gang Green,
Byron Stingily,
Frankie Knuckles,
kango's stein massive,
Unwound,
Judy Mowatt,
Carl Craig,
Q and Not U,
Brass Construction,
Gabor Szabo,
Bobby Womack,
Brothers Johnson,
Bob Dylan,
Pantaleimon,
Eve St. Jones,
D'Angelo,
Ornette Coleman,
Oneida,
The Blackbyrds,
Eddi Front,
Vladislav Delay,
Donny Hathaway,
The Motions,
The Trojans,
Liaisons Dangereuses,
Robert Hood,
Kaleidoscope,
Basic Channel,
Patti Smith,
The Seeds,
Cymande,
Roxy Music,
The American Breed,
Das Ding, Das Ding, Das Ding, Das Ding.
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.