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 Bolivia and from Winnipeg.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Accra and Philadelphia.
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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the arpeggiator 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 Lee Hazlewood to the rap kids.
I played it at the Spitz.
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 Matthew Halsall. All the underground hits.
All Tom Boy tracks. I heard you have a vinyl of every Hoover 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 '70s cut and another box set from the '80s.
I hear you're buying a sitar and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Crispian St. Peters record.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Reed,
Second Layer,
Liliput,
Kango’s Stein Massive,
David Bowie,
Drive Like Jehu,
Aural Exciters,
Grandmaster Flash and the Furious Five,
Red Lorry Yellow Lorry,
Oblivians,
Lou Christie,
Kool Moe Dee,
Wasted Youth,
The Barracudas,
Khruangbin,
Scion,
Masters at Work,
The Slits,
Sparks,
Selector Dub Narcotic,
Easy Going,
Lebanon Hanover,
Public Enemy,
Wally Richardson,
JFA,
Frankie Knuckles,
Sad Lovers and Giants,
The Moody Blues,
Buzzcocks,
Minnie Riperton,
The Toasters,
The Names,
Tomorrow,
Jesper Dahlback,
Colin Newman,
Albert Ayler,
Angels of Light & Akron/Family,
Stetsasonic,
The Happenings,
Roy Ayers,
Radiohead,
Yellowson,
OOIOO,
Simply Red,
The Monks,
Stockholm Monsters,
Marc Almond,
Tom Boy,
the Association,
Subhumans,
Groovy Waters,
Teenage Jesus and the Jerks,
Fifty Foot Hose,
Suburban Knight,
Justin Hinds & The Dominoes,
Lungfish,
Visage,
Radio Birdman,
Tears for Fears,
The Sisters of Mercy,
Bill Near, Bill Near, Bill Near, Bill Near.
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.