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 Algeria and from Mexico City.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1967 to 1976.
I'm losing my edge.
To all the kids in Calgary and Spokane.
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 arpeggiator 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 Grauzone to the punk kids.
I played it at the Hacienda.
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 Albert Ayler. All the underground hits.
All Porter Ricks tracks. I heard you have a vinyl of every Deakin record on German import.
I heard that you have a white label of every seminal electroclash 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 linndrum and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Avey Tare & Kría Brekkan 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?
Hardrive,
Black Moon,
Funky Four + One,
The Detroit Cobras,
Moby Grape,
Section 25,
Robert Hood,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Dr. Dre and Snoop Doggy Dog,
The Invisible,
Porter Ricks,
Scott Walker,
Althea and Donna,
Mo-Dettes,
Soul Sonic Force,
Black Sheep,
Blossom Toes,
Chrome,
Neil Young & Crazy Horse,
Ken Boothe,
Pierre Henry,
Urselle,
Ohio Players,
La Düsseldorf,
Bootsy Collins,
Scrapy,
Kayak,
Lebanon Hanover,
Electric Light Orchestra,
Rekid,
Agent Orange,
Agitation Free,
Depeche Mode,
Sun City Girls,
Don Cherry,
R.M.O.,
Boz Scaggs,
The Durutti Column,
Bang On A Can,
The Fortunes,
Crispy Ambulance,
Oppenheimer Analysis,
Deepchord,
Accadde A,
Fifty Foot Hose,
Jandek,
Parry Music,
The Modern Lovers,
Spoonie Gee,
Lower 48,
Röyhkä ja Rättö ja Lehtisalo,
The Index,
Liliput,
Bob Dylan,
Supertramp,
Smog,
Thee Headcoats,
Fugazi,
Joe Smooth,
Tomorrow,
Be Bop Deluxe, Be Bop Deluxe, Be Bop Deluxe, Be Bop Deluxe.
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.