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 Ecuador and from Tokyo.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Portland and Portland.
I'm losing my edge to the art-school Manchester 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 harpsichord 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 The Blackbyrds to the punk 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 Guru Guru. All the underground hits.
All The Slackers tracks. I heard you have a vinyl of every The Moleskins record on German import.
I heard that you have a white label of every seminal crunk 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 chamberlin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a These Immortal Souls record.
I hear that you and your band have sold your oboe and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Chris & Cosey,
Blake Baxter,
Parry Music,
The Doors,
The Raincoats,
Gang Starr,
Bush Tetras,
Altered Images,
Harpers Bizarre,
Fela Kuti,
Popol Vuh,
Mad Mike,
Angels of Light & Akron/Family,
Radiopuhelimet,
The Slackers,
Monolake,
JFA,
Josef K,
Deepchord,
Lindisfarne,
Kerrie Biddell,
Maleditus Sound,
The Toasters,
Mr. Review,
Procol Harum,
Stereo Dub,
Alton Ellis,
The Men They Couldn't Hang,
Michelle Simonal,
Bootsy's Rubber Band,
Chrome,
Althea and Donna,
Thinking Fellers Union Local 282,
Drexciya,
Be Bop Deluxe,
Masters at Work,
The Saints,
Animal Collective,
Terry Callier,
Johnny Osbourne,
Matthew Bourne,
Joyce Sims,
Negative Approach,
Traffic Nightmare,
Skarface,
Sixth Finger,
Lalann,
Jeff Lynne,
Supertramp,
Marmalade,
Henry Cow,
Moss Icon,
New York Dolls,
Erykah Badu,
The Pop Group,
Sunsets and Hearts,
the Association,
The Mummies,
Arab on Radar,
Lou Reed & John Cale,
X-101,
Mary Jane Girls,
The Music Machine,
Kerri Chandler,
Yaz, Yaz, Yaz, Yaz.
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.