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 Australia and from Houston.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Manila and Taipei.
I'm losing my edge to the art-school Stockholm 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 sitar 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 The Seeds to the techno 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 Nation of Ulysses. All the underground hits.
All Sex Pistols tracks. I heard you have a vinyl of every Echospace record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a chamberlin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Doors record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dawn Penn,
Dark Day,
Sly & The Family Stone,
Scott Walker,
James Chance & The Contortions,
Lou Christie,
Rotary Connection,
Crispian St. Peters,
Terry Callier,
Neil Young & Crazy Horse,
Ken Boothe,
Derrick Morgan,
Art Ensemble Of Chicago,
Girls At Our Best!,
Khruangbin,
The Invisible,
Jesper Dahlbäck,
Amon Düül,
Sex Pistols,
ABC,
Chris & Cosey,
Alice Coltrane,
Urselle,
Jacques Brel,
Lou Reed & John Cale,
Gerry Rafferty,
Albert Ayler,
Radio Birdman,
Jerry Gold Smith,
Anthony Braxton,
Panda Bear,
Roy Ayers,
Mo-Dettes,
Pere Ubu,
Unrelated Segments,
Can,
Soulsonic Force,
Barclay James Harvest,
Country Teasers,
Rowland S Howard / Lydia Lunch,
L. Decosne,
Glambeats Corp.,
Selector Dub Narcotic,
Justin Hinds & The Dominoes,
Fela Kuti,
James White and The Blacks,
Pylon,
Sällskapet,
Gian Franco Pienzio,
Faraquet,
Davy DMX,
Terrestrial Tones,
Minnie Riperton,
Kevin Saunderson,
Radiopuhelimet,
The Last Poets,
The Golliwogs,
Ultimate Spinach,
Oppenheimer Analysis,
Connie Case,
The Pop Group,
Babytalk, Babytalk, Babytalk, Babytalk.
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.