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 Rwanda and from Cairo.
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 1961 to 1976.
I'm losing my edge.
To all the kids in Tokyo and Seoul.
I'm losing my edge to the art-school Delhi 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the theremin 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 Excepter to the funk kids.
I played it at CBGB's.
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 The Doors. All the underground hits.
All The Durutti Column tracks. I heard you have a vinyl of every Harry Pussy record on German import.
I heard that you have a white label of every seminal rap 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 marimba and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Sight & Sound record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Trojans,
Nas,
Kerrie Biddell,
Richard Hell and the Voidoids,
Surgeon,
Stiv Bators,
New Age Steppers,
Jimmy McGriff,
Manfred Mann's Earth Band,
Beasts of Bourbon,
Sight & Sound,
Radiohead,
Leonard Cohen,
Gary Puckett & The Union Gap,
Quantec,
R.M.O.,
Blancmange,
The Zeros,
Camouflage,
Ultravox,
Janne Schatter,
Animal Collective,
The Monks,
Warsaw,
The Invisible,
Throbbing Gristle,
Aaron Thompson,
Eli Mardock,
Minutemen,
Desert Stars,
Ituana,
JFA,
Roxette,
Lower 48,
Chris Corsano,
Nik Kershaw,
Rakim,
U.S. Maple,
The Angels of Light,
The Misunderstood,
Boz Scaggs,
Fad Gadget,
Moss Icon,
Laurel Aitken,
the Association,
Simply Red,
the Normal,
Marc Almond,
Barry Ungar,
Y Pants,
Crash Course in Science,
Howard Jones,
Cymande,
Half Japanese,
The Fuzztones,
Deutsch Amerikanische Freundschaft,
Sister Nancy,
Liaisons Dangereuses,
Make Up,
Joyce Sims,
Negative Approach,
Khruangbin, Khruangbin, Khruangbin, Khruangbin.
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.