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 Botswana and from New York.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1977.
I'm losing my edge.
To all the kids in Manila and Philadelphia.
I'm losing my edge to the art-school Winnipeg 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 theremin 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 Jacques Brel to the jazz 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 DNA. All the underground hits.
All Josef K tracks. I heard you have a vinyl of every cv313 record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a clarinet and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Franke record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Jesus and Mary Chain,
Oppenheimer Analysis,
Siouxsie and the Banshees,
Fugazi,
Avey Tare,
Sun Ra,
Young Marble Giants,
Popol Vuh,
Heavy D & The Boyz,
Gian Franco Pienzio,
Anthony Braxton,
Con Funk Shun,
Groovy Waters,
Talk Talk,
The Dirtbombs,
Pagans,
Das Ding,
The Wake,
The Fuzztones,
Rapeman,
Arthur Verocai,
Gil Scott-Heron and Jamie xx,
Technova,
Radiopuhelimet,
John Holt,
John Lydon,
The Blues Magoos,
Pharoah Sanders,
Soul II Soul,
Eve St. Jones,
Television,
Drive Like Jehu,
Red Lorry Yellow Lorry,
The Blackbyrds,
Neu!,
Brick,
Terry Callier,
Brothers Johnson,
Neil Young & Crazy Horse,
Kerrie Biddell,
Smog,
La Düsseldorf,
Buzzcocks,
Bronski Beat,
Justin Hinds & The Dominoes,
The Electric Prunes,
Cal Tjader,
Sound Behaviour,
One Last Wish,
Röyhkä ja Rättö ja Lehtisalo,
Harmonia,
ABC,
The Cure,
Kenny Larkin,
World's Most,
Boogie Down Productions,
Lakeside,
David Bowie,
Flipper,
Quando Quango,
Deakin, Deakin, Deakin, Deakin.
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.