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 Kyrgyzstan and from Cairo.
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 1967 to 1971.
I'm losing my edge.
To all the kids in London and Columbus.
I'm losing my edge to the art-school Beijing 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 1973 at the first Television practice in a loft in New York.
I was working on the chamberlin 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 Gang Green to the punk kids.
I played it at the Troubador.
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 Gil Scott Heron. All the underground hits.
All Ultravox tracks. I heard you have a vinyl of every Khruangbin record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a rhodes and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Sisters of Mercy record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Knickerbockers,
Jerry's Kids,
Lalann,
Livin' Joy,
Moebius,
The Residents,
Nirvana,
Ohio Players,
Kauko Röyhkä ja Narttu,
Underground Resistance,
Rekid,
Q65,
Cluster,
Andrew Ashong & Theo Parrish,
Fluxion,
London Community Gospel Choir,
Aural Exciters,
The Pretty Things,
Kayak,
Con Funk Shun,
The Toasters,
Dave Gahan,
Kenny Larkin,
Janne Schatter,
Lou Reed & Metallica,
The Remains,
Bill Wells,
Grandmaster Flash and the Furious Five,
Spandau Ballet,
T.S.O.L.,
Sound Behaviour,
Juan Atkins,
Sonic Youth,
Excepter,
David Axelrod,
Rhythm & Sound,
Red Lorry Yellow Lorry,
Brass Construction,
Lebanon Hanover,
Joensuu 1685,
Sister Nancy,
Mark Hollis,
Pharoah Sanders,
Skriet,
Kings Of Tomorrow,
Wighnomy Brothers & Robag Wruhme,
Barrington Levy,
Goldenarms,
The Evens,
Faust,
Bootsy Collins,
Stockholm Monsters,
The Busters,
Hashim,
The Associates,
The Index,
Circle Jerks,
Louis and Bebe Barron,
Desert Stars,
Arthur Verocai,
Todd Terry,
Boogie Down Productions,
Agent Orange, Agent Orange, Agent Orange, Agent Orange.
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.