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 East Timor and from Mexico City.
But I was there.
I was there in 1980.
I was there at the first Cybotron 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 1960 to 1970.
I'm losing my edge.
To all the kids in Columbus and London.
I'm losing my edge to the art-school Toronto 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 chamberlin sounds with much patience.
I was there when Robert Palmer 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 Mandrill to the grunge kids.
I played it at Cafe Wha.
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 X-102. All the underground hits.
All Aswad tracks. I heard you have a vinyl of every Albert Ayler record on German import.
I heard that you have a white label of every seminal funk 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 a synthesizer and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Shoche record.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Drive Like Jehu,
Isaac Hayes,
Pagans,
Khruangbin,
Mary Jane Girls,
Avey Tare & Kría Brekkan,
Bobbi Humphrey,
The Sound,
Siouxsie and the Banshees,
Harry Pussy,
Animal Collective,
Mission of Burma,
Cymande,
Sun Ra Arkestra,
Magazine,
Grandmaster Flash and the Furious Five,
Rites of Spring,
H. Thieme,
The Zeros,
The Real Kids,
ABBA,
Y Pants,
ABC,
David Axelrod,
Sight & Sound,
A Flock of Seagulls,
Royal Trux,
Lou Reed & Metallica,
Todd Rundgren,
Jeff Lynne,
Man Parrish,
Gian Franco Pienzio,
Johnny Osbourne,
Tres Demented,
The Black Dice,
The Happenings,
Kerri Chandler,
48th St. Collective,
Rowland S Howard / Lydia Lunch,
Gabor Szabo,
Ultimate Spinach,
Dr. Dre and Snoop Doggy Dog,
Au Pairs,
the Germs,
Massinfluence,
Fad Gadget,
Alice Coltrane,
Kaleidoscope,
FM Einheit,
Fifty Foot Hose,
Orchestral Manoeuvres in the Dark,
Aswad,
Morten Harket,
Kool Moe Dee,
Dual Sessions,
Captain Beefheart & His Magic Band,
Suicide,
Black Pus,
Guru Guru,
Bush Tetras,
Al Stewart,
The Fortunes,
Theoretical Girls,
The Fire Engines,
Groovy Waters, Groovy Waters, Groovy Waters, Groovy Waters.
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.