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 Bangladesh and from Stockholm.
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 1961 to 1978.
I'm losing my edge.
To all the kids in Spokane and Accra.
I'm losing my edge to the art-school Woodstock 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 oboe 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 Suicide to the electroclash kids.
I played it at the Spitz.
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 West Coast Pop Art Experimental Band. All the underground hits.
All Soft Machine tracks. I heard you have a vinyl of every Lou Reed record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a 808 and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Newcleus record.
I hear that you and your band have sold your güiro and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Graham Central Station,
Gichy Dan,
Ten City,
Rod Modell,
David Axelrod,
Sarah Menescal,
Gang Green,
Radio Birdman,
L. Decosne,
The Music Machine,
Jacques Brel,
Pantaleimon,
Bad Manners,
Sun Ra,
Television,
Brand Nubian,
Warsaw,
Grauzone,
Half Japanese,
Jimmy McGriff,
The Blackbyrds,
Surgeon,
Mandrill,
The Slackers,
The Real Kids,
Jerry Gold Smith,
Eden Ahbez,
Gregory Isaacs,
Niagra,
Monolake,
Pet Shop Boys,
Liliput,
Anthony Braxton,
Fluxion,
Janne Schatter,
Gil Scott-Heron and Jamie xx,
Icehouse,
Little Man,
Louis and Bebe Barron,
Easy Going,
The Walker Brothers,
Section 25,
The Fuzztones,
Cabaret Voltaire,
Junior Murvin,
The Gap Band,
Todd Rundgren,
the Swans,
the Soft Cell,
Eyeless In Gaza,
Ituana,
The Fortunes,
Wasted Youth,
Cybotron,
Hot Snakes,
Babytalk,
Unwound,
Sparks,
Soul II Soul,
Eurythmics,
Radiohead, Radiohead, Radiohead, Radiohead.
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.