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 India and from Cairo.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Tokyo and Bremen.
I'm losing my edge to the art-school Edmonton 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the oboe 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 Eve St. Jones to the rock 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 Lalo Schifrin. All the underground hits.
All Avey Tare & Kría Brekkan tracks. I heard you have a vinyl of every The Men They Couldn't Hang 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 '60s cut and another box set from the '70s.
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 Model 500 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?
Crime,
Zero Boys,
The Wake,
Suburban Knight,
Connie Case,
The Smoke,
James White and The Blacks,
Pete Rock & C.L. Smooth,
The Names,
Amazonics,
David McCallum,
Mary Jane Girls,
Lizzy Mercier Descloux,
Bootsy Collins,
The Modern Lovers,
Jeff Lynne,
the Bar-Kays,
Erykah Badu,
Robert Görl,
Janne Schatter,
Roy Ayers Ubiquity,
Jandek,
World's Most,
Peter & Gordon,
Boredoms,
Jesper Dahlback,
Gang of Four,
Robert Hood,
Khruangbin,
Con Funk Shun,
The Jesus and Mary Chain,
Fluxion,
Matthew Halsall,
Rekid,
Wire,
Camberwell Now,
Deadbeat,
Gregory Isaacs,
Bronski Beat,
Soft Machine,
The Walker Brothers,
Juan Atkins,
Black Sheep,
Accadde A,
Stiv Bators,
Electric Light Orchestra,
Lonnie Liston Smith,
Second Layer,
Sad Lovers and Giants,
The Barracudas,
Stetsasonic,
Mandrill,
Louis and Bebe Barron,
Vaughan Mason & Crew,
Marshall Jefferson,
Liliput,
Avey Tare,
Roxette,
Gil Scott-Heron and Jamie xx,
The Fire Engines, The Fire Engines, The Fire Engines, The Fire Engines.
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.