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 Barbados and from Philadelphia.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Portland and Mumbai.
I'm losing my edge to the art-school Columbus 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 1984 at the first Arcadia practice in a loft in London.
I was working on the theremin sounds with much patience.
I was there when Lou Reed 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 Skriet to the rock kids.
I played it at the Astoria.
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 The Move. All the underground hits.
All The Knickerbockers 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 funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a harpsichord and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Aaron Thompson record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
LL Cool J,
Lalo Schifrin,
Bang on a Can All-Stars,
Eyeless In Gaza,
Hashim,
In Retrospect,
The Leaves,
Marvin Gaye,
AZ,
Lee Hazlewood,
cv313,
a-ha,
Crime,
Deutsch Amerikanische Freundschaft,
Oneida,
Funkadelic,
Dead Boys,
Little Man,
Spoonie Gee,
Joyce Sims,
Jeff Mills,
Gil Scott-Heron & Brian Jackson,
New Age Steppers,
Soul II Soul,
The Residents,
The Electric Prunes,
Isaac Hayes,
Angry Samoans,
Wighnomy Brothers & Robag Wruhme,
Cymande,
Marshall Jefferson,
Cecil Taylor,
Quando Quango,
The Gun Club,
Babytalk,
It's A Beautiful Day,
Jawbox,
Lou Reed & John Cale,
A Flock of Seagulls,
The Sisters of Mercy,
Circle Jerks,
Gabor Szabo,
Zapp,
Camron Feat. Memphis Bleek And Beenie Seigel,
Josef K,
The Dirtbombs,
Amon Düül II,
Livin' Joy,
DJ Style,
The Invisible,
John Foxx,
The Red Krayola,
Stiv Bators,
Vladislav Delay,
The Smiths,
the Association,
The Shadows of Knight,
The Index,
Guru Guru,
Donny Hathaway, Donny Hathaway, Donny Hathaway, Donny Hathaway.
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.