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 El Salvador and from Mexico City.
But I was there.
I was there in 1980.
I was there at the first Cybotron 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 1976.
I'm losing my edge.
To all the kids in Mumbai and Delhi.
I'm losing my edge to the art-school Spokane 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the theremin 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 Aaron Thompson to the dance kids.
I played it at the Crocodile.
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 Soft Machine. All the underground hits.
All Lucky Dragons tracks. I heard you have a vinyl of every Vaughan Mason & Crew 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 '70s cut and another box set from the '70s.
I hear you're buying an oboe and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Robert Görl record.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mark Hollis,
Dawn Penn,
Smog,
Grey Daturas,
The Cowsills,
The Skatalites,
Dorothy Ashby,
Gang of Four,
Altered Images,
The Toasters,
Big Daddy Kane,
Minor Threat,
cv313,
Spandau Ballet,
Sunsets and Hearts,
The Last Poets,
Todd Terry,
Vainqueur,
Porter Ricks,
Oppenheimer Analysis,
Kerrie Biddell,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Excepter,
Lungfish,
kango's stein massive,
Ken Boothe,
Chris Corsano,
Main Source,
The Techniques,
Electric Prunes,
UT,
Harry Pussy,
Lightning Bolt,
Procol Harum,
Todd Rundgren,
La Düsseldorf,
Q65,
Kaleidoscope,
Depeche Mode,
Cameo,
Funkadelic,
Art Ensemble Of Chicago,
Theoretical Girls,
Crispy Ambulance,
The Residents,
The Mojo Men,
It's A Beautiful Day,
One Last Wish,
The Stooges,
Warsaw,
Moebius,
The Neon Judgement,
Funky Four + One,
Hoover,
Erasure,
Pantaleimon,
The Cramps,
Fort Wilson Riot,
Audionom,
Man Eating Sloth,
Fad Gadget,
DNA,
John Lydon,
Lee Hazlewood,
Matthew Halsall, Matthew Halsall, Matthew Halsall, Matthew Halsall.
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.