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 Vanuatu and from Hong Kong.
But I was there.
I was there in 1967.
I was there at the first Rodriguez 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 1966 to 1971.
I'm losing my edge.
To all the kids in Seoul and Madrid.
I'm losing my edge to the art-school Madrid 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the oboe 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 Clear Light to the grunge 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 Art Ensemble Of Chicago. All the underground hits.
All Ultramagnetic MC's tracks. I heard you have a vinyl of every Masters at Work 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 '50s cut and another box set from the '90s.
I hear you're buying a theremin and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Avey Tare & Kría Brekkan record.
I hear that you and your band have sold your güiro and bought a 808.
I hear that you and your band have sold your 808 and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Normal,
Cecil Taylor,
Althea and Donna,
Crash Course in Science,
The Smiths,
Quando Quango,
Motorama,
Strawberry Alarm Clock,
Organ,
Beasts of Bourbon,
Magma,
New York Dolls,
Newcleus,
Moss Icon,
The Motions,
Television Personalities,
Robert Hood,
Von Mondo,
Minnie Riperton,
The Tremeloes,
The Star Department,
Byron Stingily,
Intrusion,
Tim Buckley,
Rosa Yemen,
Roxy Music,
Freddie Wadling,
The Gladiators,
Todd Rundgren,
Bang on a Can All-Stars,
Rapeman,
Cabaret Voltaire,
Michelle Simonal,
The Angels of Light,
Monks,
Spoonie Gee,
Drive Like Jehu,
X-Ray Spex,
Jeff Mills,
Gregory Isaacs,
The Peanut Butter Conspiracy,
The Fortunes,
Pole,
Pulsallama,
The Flesh Eaters,
Dark Day,
Anthony Braxton,
Can,
Kings Of Tomorrow,
Scratch Acid,
Eli Mardock,
Reuben Wilson,
Röyhkä ja Rättö ja Lehtisalo,
Rhythm & Sound,
Animal Collective,
Soul Sonic Force,
The Detroit Cobras,
Soul II Soul,
Rod Modell,
Half Japanese,
Boredoms,
Rotary Connection,
The Shadows of Knight,
Steve Hackett, Steve Hackett, Steve Hackett, Steve Hackett.
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.