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 Malawi and from Bremen.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Sao Paulo and Lille.
I'm losing my edge to the art-school New York 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 at the first Suicide practice in a loft in New York.
I was working on the snare 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 Avey Tare & Kría Brekkan to the crunk 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 Harmonia. All the underground hits.
All Andrew Ashong & Theo Parrish tracks. I heard you have a vinyl of every Jesper Dahlbäck record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying an oboe and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Cramps record.
I hear that you and your band have sold your spring reverb and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marmalade,
Bill Near,
Barclay James Harvest,
The Saints,
Bobby Hutcherson,
The Gladiators,
Lebanon Hanover,
a-ha,
Peter Gordon & Love of Life Orchestra,
Minnie Riperton,
The American Breed,
Soft Machine,
The Moleskins,
Major Organ And The Adding Machine,
Von Mondo,
Ohio Players,
Visionaries,LMNO, T- Love & Iriscience,
Kayak,
Jesper Dahlbäck,
Grandmaster Flash,
Procol Harum,
Brass Construction,
Quando Quango,
De La Soul & Jungle Brothers,
Dead Boys,
Moebius,
Ash Ra Tempel,
Grauzone,
Intrusion,
Donald Byrd,
EPMD,
New Order,
Ken Boothe,
Animal Collective,
Crime,
Tim Buckley,
Amon Düül,
Matthew Halsall,
Bang On A Can,
The Music Machine,
Heavy D & The Boyz,
The Litter,
Drive Like Jehu,
Amon Düül II,
John Coltrane,
Josef K,
Bootsy's Rubber Band,
The Dead C,
MDC,
Deakin,
The Velvet Underground,
Public Image Ltd.,
Massinfluence,
DNA,
Ultra Naté,
Harmonia,
Thompson Twins,
Arab on Radar,
Minny Pops,
Banda Bassotti,
The Kinks, The Kinks, The Kinks, The Kinks.
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.