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 Australia and from Sao Paulo.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Manchester and Winnipeg.
I'm losing my edge to the art-school Mexico City 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 Holger Czukay 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 Bill Near to the jazz 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 Dawn Penn. All the underground hits.
All Lalo Schifrin tracks. I heard you have a vinyl of every Tres Demented record on German import.
I heard that you have a white label of every seminal punk 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 rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Soft Machine record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Suicide,
David Axelrod,
Girls At Our Best!,
The Young Rascals,
Wasted Youth,
Ajijia Myrayebe,
Eli Mardock,
Moss Icon,
Grauzone,
Avey Tare,
Sexual Harrassment,
Lizzy Mercier Descloux,
Circle Jerks,
Dual Sessions,
The Residents,
Blossom Toes,
The Men They Couldn't Hang,
Fluxion,
Urselle,
Hot Snakes,
Brand Nubian,
Barclay James Harvest,
The Sisters of Mercy,
Magazine,
The Pop Group,
The Cure,
Jeff Mills,
Marmalade,
Jeff Lynne,
Laurel Aitken,
Smog,
Andrew Hill,
Suburban Knight,
Duran Duran,
Sam Rivers,
Rufus Thomas,
Aaron Thompson,
The New Christs,
Cheater Slicks,
U.S. Maple,
Kerrie Biddell,
Roy Ayers,
Franke,
Camron Feat. Jay Z And Juelz,
Motorama,
Negative Approach,
Q and Not U,
Curtis Mayfield,
Skarface,
Darondo,
Can,
This Heat,
Barbara Tucker,
PIL,
Orchestral Manoeuvres in the Dark,
Tres Demented,
Quando Quango,
Jerry's Kids,
Sugar Minott,
Grey Daturas,
Khruangbin,
Siouxsie and the Banshees, Siouxsie and the Banshees, Siouxsie and the Banshees, Siouxsie and the Banshees.
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.