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 South Africa and from Spokane.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Mumbai and Copenhagen.
I'm losing my edge to the art-school Houston 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the arpeggiator sounds with much patience.
I was there when Lou Reed 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 Kinks to the disco kids.
I played it at the Roxy.
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 Wings. All the underground hits.
All The Fortunes tracks. I heard you have a vinyl of every Soul Sonic Force record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a chamberlin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Velvet Underground record.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cameo,
Kevin Saunderson,
Alphaville,
It's A Beautiful Day,
Flash Fearless,
Jeff Mills,
Robert Hood,
The Doobie Brothers,
Glenn Branca,
Masters at Work,
Funkadelic,
Animal Collective,
The Young Rascals,
The Modern Lovers,
Bobby Womack,
Gregory Isaacs,
Hot Snakes,
Shoche,
Lightning Bolt,
Sister Nancy,
Max Romeo,
Andrew Hill,
Severed Heads,
Symarip,
The Index,
Gang Gang Dance,
The Real Kids,
Glambeats Corp.,
Terry Callier,
The Black Dice,
The Kinks,
cv313,
Public Enemy,
Television Personalities,
Jimmy McGriff,
U.S. Maple,
Aswad,
Desert Stars,
Graham Central Station,
Avey Tare,
Ronnie Foster,
Drexciya,
Fort Wilson Riot,
The Names,
Ultimate Spinach,
K-Klass,
Angels of Light & Akron/Family,
Talk Talk,
Stereo Dub,
AZ,
Be Bop Deluxe,
Joe Finger,
Reuben Wilson,
The Happenings,
Scan 7,
Man Eating Sloth,
Scion,
Judy Mowatt,
The Cramps,
Eurythmics,
Art Ensemble Of Chicago, Art Ensemble Of Chicago, Art Ensemble Of Chicago, Art Ensemble Of Chicago.
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.