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 St Lucia and from Philadelphia.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1974.
I'm losing my edge.
To all the kids in Milan and Accra.
I'm losing my edge to the art-school London 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 808 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 Rhythm & Sound to the disco 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 Jacob Miller. All the underground hits.
All Underground Resistance tracks. I heard you have a vinyl of every Nick Fraelich record on German import.
I heard that you have a white label of every seminal techno 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 a spring reverb and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Sexual Harrassment record.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Association,
Desert Stars,
Chrome,
The Walker Brothers,
Fifty Foot Hose,
Alice Coltrane,
Eric Copeland,
The United States of America,
These Immortal Souls,
Tubeway Army,
Curtis Mayfield,
The Victims,
Johnny Osbourne,
Dark Day,
John Coltrane,
Jawbox,
The Barracudas,
Outsiders,
Todd Terry,
The Standells,
Bobby Byrd,
Fad Gadget,
Country Teasers,
Loose Ends,
The Sisters of Mercy,
The Sonics,
Quando Quango,
Wighnomy Brothers & Robag Wruhme,
Captain Beefheart & His Magic Band,
Wally Richardson,
Jacob Miller,
John Cale,
Susan Cadogan,
Stiv Bators,
Aaron Thompson,
Isaac Hayes,
Arcadia,
D'Angelo,
Pharaoh Sanders and the Fire Engines,
The Alarm Clocks,
Man Eating Sloth,
Pete Rock & C.L. Smooth,
Aloha Tigers,
T.S.O.L.,
Public Image Ltd.,
Alison Limerick,
Quantec,
The Kinks,
The Men They Couldn't Hang,
Kauko Röyhkä ja Narttu,
Trumans Water,
Minny Pops,
Selector Dub Narcotic,
New Order,
The Mojo Men,
One Last Wish,
The Modern Lovers,
Rod Modell,
The Fugs,
Sight & Sound,
Rhythm & Sound, Rhythm & Sound, Rhythm & Sound, Rhythm & Sound.
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.