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 Austria and from Taipei.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 Bologna and Lyon.
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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the sitar sounds with much patience.
I was there when David Bowie 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 Alarm Clocks to the rock kids.
I played it at Cafe Wha.
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 Sunsets and Hearts. All the underground hits.
All Soft Machine tracks. I heard you have a vinyl of every Audionom record on German import.
I heard that you have a white label of every seminal jazz 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 a theremin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Bootsy's Rubber Band record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Orchestral Manoeuvres in the Dark,
Ronan,
Boogie Down Productions,
Ice-T,
The Knickerbockers,
UT,
Alton Ellis,
The Dead C,
K-Klass,
Jeff Mills,
Freddie Wadling,
Wings,
Eric B and Rakim,
Jesper Dahlbäck,
Sixth Finger,
Rhythm & Sound,
Hashim,
OOIOO,
Saccharine Trust,
Heavy D & The Boyz,
Röyhkä ja Rättö ja Lehtisalo,
The Electric Prunes,
the Fania All-Stars,
Johnny Clarke,
Todd Terry,
Popol Vuh,
Mad Mike,
Unrelated Segments,
Radiohead,
CMW,
Thinking Fellers Union Local 282,
The Fuzztones,
The Black Dice,
Neu!,
Dave Gahan,
Gang Starr,
Lou Reed,
Nas,
Jerry Gold Smith,
Mars,
Harpers Bizarre,
the Association,
The Velvet Underground,
Dark Day,
Maleditus Sound,
Quadrant,
Public Enemy,
Louis and Bebe Barron,
Terrestrial Tones,
Bill Near,
Reuben Wilson,
Delon & Dalcan,
Soul Sonic Force,
Ultravox,
Donald Byrd,
Sad Lovers and Giants,
the Swans,
Young Marble Giants,
Arthur Verocai,
The Smiths,
Marc Romboy vs. Booka Shade,
Ossler,
Scratch Acid,
Lizzy Mercier Descloux, Lizzy Mercier Descloux, Lizzy Mercier Descloux, Lizzy Mercier Descloux.
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.