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 Oman and from Seoul.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Johannesburg and Edmonton.
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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the spring reverb sounds with much patience.
I was there when Tom Verlaine 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 Radiopuhelimet to the disco kids.
I played it at the Troubador.
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 Cal Tjader. All the underground hits.
All Thee Headcoats tracks. I heard you have a vinyl of every Rosa Yemen record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying an oboe and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Mr. Review record.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eric Dolphy,
Grauzone,
Fear,
Cecil Taylor,
Ornette Coleman,
The Dirtbombs,
The Cowsills,
Nico,
the Sonics,
Deakin,
Black Pus,
Negative Approach,
Deutsch Amerikanische Freundschaft,
Sun Ra Arkestra,
Girls At Our Best!,
The Invisible,
In Retrospect,
Lakeside,
Ultimate Spinach,
X-102,
Boz Scaggs,
Half Japanese,
Quando Quango,
Minny Pops,
the Association,
Lou Reed & John Cale,
Black Sheep,
Masters at Work,
Eric Copeland,
The Gories,
Stockholm Monsters,
Bang On A Can,
Barry Ungar,
Stiv Bators,
The United States of America,
Zapp,
Orchestral Manoeuvres in the Dark,
Sugar Minott,
Albert Ayler,
Jeff Mills,
Gil Scott Heron,
Kayak,
Mo-Dettes,
Aloha Tigers,
The Gladiators,
Television,
The Grass Roots,
Mr. Review,
The Peanut Butter Conspiracy,
Skarface,
Ralphi Rosario,
Cameo,
John Coltrane,
The Offenders,
K-Klass,
Arcadia,
Yusef Lateef,
Swell Maps,
Kauko Röyhkä ja Narttu,
The Pretty Things,
Teenage Jesus and the Jerks,
Louis and Bebe Barron,
Susan Cadogan, Susan Cadogan, Susan Cadogan, Susan Cadogan.
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.