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 Sri Lanka 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 1965 to 1977.
I'm losing my edge.
To all the kids in Mumbai and Paris.
I'm losing my edge to the art-school Shanghai 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the chamberlin 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 Eric Dolphy to the rock kids.
I played it at the Roxy.
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 Nick Cave & The Bad Seeds. All the underground hits.
All Das Ding tracks. I heard you have a vinyl of every John Foxx record on German import.
I heard that you have a white label of every seminal jazz 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 an oboe and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Johnny Osbourne record.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
DeepChord presents Echospace,
Jesper Dahlback,
Harpers Bizarre,
Selector Dub Narcotic,
Eve St. Jones,
Maurizio,
Deadbeat,
Fat Boys,
Absolute Body Control,
Tomorrow,
The Divine Comedy,
Kevin Saunderson,
Scan 7,
The Searchers,
La Düsseldorf,
Flipper,
The Invisible,
The Pretty Things,
London Community Gospel Choir,
Barclay James Harvest,
The J.B.'s,
Icehouse,
The Raincoats,
Al Stewart,
The Star Department,
Anakelly,
Warren Ellis,
Flash Fearless,
The Velvet Underground,
Drexciya,
The Walker Brothers,
Japan,
Orchestral Manoeuvres in the Dark,
Pole,
Kauko Röyhkä ja Narttu,
CMW,
Aaron Thompson,
The Last Poets,
Mad Mike,
Dawn Penn,
Piero Umiliani,
Minutemen,
The Angels of Light,
Agent Orange,
Faust,
The Smiths,
Radiohead,
Desert Stars,
Be Bop Deluxe,
Joey Negro,
The Names,
Country Teasers,
Royal Trux,
Index,
Steve Hackett,
The Knickerbockers,
Prince Buster,
Television,
Juan Atkins,
cv313,
Sly & The Family Stone,
Andrew Hill,
Barry Ungar,
Skarface, Skarface, Skarface, Skarface.
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.