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 Malta and from Winnipeg.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Milan and Portland.
I'm losing my edge to the art-school Portland 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the harpsichord sounds with much patience.
I was there when Michael McDonald 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 Idris Muhammad 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 Zero Boys. All the underground hits.
All Cabaret Voltaire tracks. I heard you have a vinyl of every The Happenings 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 '70s cut and another box set from the '70s.
I hear you're buying a theremin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Alarm Clocks record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Little Man,
Scan 7,
It's A Beautiful Day,
Absolute Body Control,
Blake Baxter,
Barrington Levy,
Be Bop Deluxe,
Mark Hollis,
Camron Feat. Memphis Bleek And Beenie Seigel,
Bluetip,
JFA,
Dave Gahan,
Sarah Menescal,
Rhythim Is Rhythim,
Kas Product,
Pete Rock & C.L. Smooth,
Kings Of Tomorrow,
Manfred Mann's Earth Band,
The Invisible,
Monks,
Angry Samoans,
Rowland S Howard / Lydia Lunch,
Warsaw,
Crispian St. Peters,
Ultravox,
Y Pants,
cv313,
Thinking Fellers Union Local 282,
Alice Coltrane,
Wire,
These Immortal Souls,
Agitation Free,
Captain Beefheart & His Magic Band,
ABBA,
Terrestrial Tones,
Gregory Isaacs,
Jacob Miller,
The Moody Blues,
The Gap Band,
The Raincoats,
Pantaleimon,
Ornette Coleman,
Roger Hodgson,
The Names,
The Mighty Diamonds,
Joe Finger,
Marcia Griffiths,
Los Fastidios,
Pere Ubu,
Al Stewart,
Ohio Players,
Massinfluence,
Fad Gadget,
Letta Mbulu,
Rhythm & Sound,
Jerry Gold Smith,
Minor Threat,
Andrew Ashong & Theo Parrish,
The Doors,
Jimmy McGriff,
Black Sheep, Black Sheep, Black Sheep, Black Sheep.
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.