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 Afghanistan and from Copenhagen.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1964 to 1976.
I'm losing my edge.
To all the kids in Toronto and Delhi.
I'm losing my edge to the art-school Taipei 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the chamberlin sounds with much patience.
I was there when Robert Palmer 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 Tres Demented to the grime 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 The Real Kids. All the underground hits.
All Royal Trux tracks. I heard you have a vinyl of every The Cure record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a theremin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Aural Exciters record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
T.S.O.L.,
Crispian St. Peters,
Procol Harum,
Grey Daturas,
Prince Buster,
Scion,
Supertramp,
Quantec,
Drive Like Jehu,
Pole,
the Normal,
Roxette,
Alton Ellis,
the Swans,
Jacques Brel,
Robert Wyatt,
The United States of America,
Mark Hollis,
Al Stewart,
Bauhaus,
Section 25,
Cecil Taylor,
Rhythim Is Rhythim,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Hot Snakes,
Scott Walker,
New York Dolls,
De La Soul & Jungle Brothers,
Fort Wilson Riot,
John Holt,
Tim Buckley,
Deadbeat,
Ten City,
The Fire Engines,
Man Eating Sloth,
DeepChord presents Echospace,
Swell Maps,
Marshall Jefferson,
The Divine Comedy,
The Move,
Bobby Hutcherson,
The American Breed,
Agitation Free,
Cameo,
Delon & Dalcan,
The Moleskins,
The Blues Magoos,
Rhythm & Sound,
Little Man,
Joensuu 1685,
Danielle Patucci,
The Shadows of Knight,
Lizzy Mercier Descloux,
JFA,
Marc Romboy vs. Booka Shade,
Beasts of Bourbon,
the Soft Cell,
Negative Approach,
Visionaries,LMNO, T- Love & Iriscience,
Fugazi,
Ohio Players,
Organ, Organ, Organ, Organ.
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.