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 Switzerland and from Cairo.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1971.
I'm losing my edge.
To all the kids in Lille and Lyon.
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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the synthesizer sounds with much patience.
I was there when Captain Beefheart 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 Aaron Thompson to the disco kids.
I played it at the 40 Watt.
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 Sugar Minott. All the underground hits.
All Pantytec tracks. I heard you have a vinyl of every Avey Tare & Kría Brekkan 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 '80s cut and another box set from the '70s.
I hear you're buying a güiro and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Easy Going record.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Arthur Verocai,
Marine Girls,
The Index,
Terry Callier,
Robert Görl,
Joensuu 1685,
The Gories,
Accadde A,
John Coltrane,
Cameo,
Maleditus Sound,
Ohio Players,
Symarip,
Porter Ricks,
Pierre Henry,
Kool G Rap & DJ Polo,
Rahsaan Roland Kirk,
Todd Terry,
Brand Nubian,
Funky Four + One,
Main Source,
Section 25,
The Golliwogs,
Curtis Mayfield,
Vainqueur,
Juan Atkins,
Andrew Ashong & Theo Parrish,
Lucky Dragons,
The Fortunes,
AZ,
The Martian,
Sister Nancy,
Tropical Tobacco,
Crime,
T.S.O.L.,
Pole,
Anakelly,
Todd Rundgren,
Larry & the Blue Notes,
Depeche Mode,
David McCallum,
Don Cherry,
Buzzcocks,
Jeff Lynne,
Jawbox,
the Bar-Kays,
Godley & Creme,
Nirvana,
Electric Prunes,
Absolute Body Control,
Skaos,
The Tremeloes,
JFA,
John Lydon,
Essential Logic,
Radiohead,
Ronan,
Interpol,
Lonnie Liston Smith,
Erasure,
Archie Shepp,
The Royal Family And The Poor,
Zapp,
Y Pants,
Arcadia, Arcadia, Arcadia, Arcadia.
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.