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 Colombia and from Paris.
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 1972.
I'm losing my edge.
To all the kids in Tehran and New York.
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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the rhodes 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 Kango’s Stein Massive to the funk kids.
I played it at Trash.
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 Howard Jones. All the underground hits.
All Alton Ellis tracks. I heard you have a vinyl of every Fugazi 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 '90s.
I hear you're buying a linndrum and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Angels of Light record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scratch Acid,
Lee Hazlewood,
8 Eyed Spy,
The Zeros,
Delta 5,
Agitation Free,
The Stooges,
Darondo,
The Offenders,
Marvin Gaye,
Newcleus,
Make Up,
Lalann,
The Mighty Diamonds,
Vladislav Delay,
Rahsaan Roland Kirk,
Susan Cadogan,
Minutemen,
The Happenings,
New York Dolls,
Urselle,
Deepchord,
Peter Gordon & Love of Life Orchestra,
Ajijia Myrayebe,
Albert Ayler,
Blossom Toes,
cv313,
Terrestrial Tones,
Gregory Isaacs,
The Evens,
Janne Schatter,
Alice Coltrane,
Pole,
Average White Band,
The Busters,
F. McDonald,
Orchestral Manoeuvres in the Dark,
Soulsonic Force,
Don Cherry,
The New Christs,
Marc Romboy vs. Booka Shade,
Howard Jones,
Siouxsie and the Banshees,
Jawbox,
Sonny Sharrock,
DNA,
Lightning Bolt,
Boogie Down Productions,
Max Romeo,
Jesper Dahlback,
Gastr Del Sol,
The Pop Group,
Eyeless In Gaza,
Soft Cell,
Kauko Röyhkä ja Narttu,
James Chance & The Contortions,
Depeche Mode,
Notorious Big And Bone Thugs,
Soft Machine,
Mary Jane Girls,
Marine Girls,
Camberwell Now,
The Litter, The Litter, The Litter, The Litter.
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.