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 Congo and from Salvador.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Milan and Tehran.
I'm losing my edge to the art-school Madrid 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 at the first Suicide practice in a loft in New York.
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 Kerrie Biddell to the crunk 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 Sixth Finger. All the underground hits.
All Main Source tracks. I heard you have a vinyl of every Roy Ayers Ubiquity record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a spring reverb and a snare and are throwing your macbook out the window because you want to make something real. You want to make a 48th St. Collective record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Doobie Brothers,
Sarah Menescal,
Camron Feat. Jay Z And Juelz,
Agitation Free,
the Normal,
DNA,
The Smoke,
Symarip,
Procol Harum,
The Mighty Diamonds,
Eyeless In Gaza,
Chrome,
Red Lorry Yellow Lorry,
Cluster,
Scratch Acid,
Carl Craig,
The Invisible,
Kerrie Biddell,
The Toasters,
Gian Franco Pienzio,
Slave,
The Sound,
Bronski Beat,
Pagans,
Angels of Light & Akron/Family,
Gil Scott-Heron and Jamie xx,
Bobby Hutcherson,
Deakin,
Section 25,
Rotary Connection,
Can,
Bill Wells,
Gichy Dan,
Talk Talk,
The Techniques,
Japan,
Joyce Sims,
Maurizio,
Selector Dub Narcotic,
The West Coast Pop Art Experimental Band,
Peter & Gordon,
Jeru the Damaja,
John Holt,
D'Angelo,
Radiohead,
The Selecter,
Jimmy McGriff,
Fugazi,
MDC,
Beasts of Bourbon,
Letta Mbulu,
Röyhkä ja Rättö ja Lehtisalo,
The Standells,
Boz Scaggs,
Smog,
Louis and Bebe Barron,
48th St. Collective,
Depeche Mode,
Y Pants,
Average White Band,
The Seeds, The Seeds, The Seeds, The Seeds.
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.