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 Vietnam and from Mexico City.
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 1976.
I'm losing my edge.
To all the kids in Johannesburg and Beijing.
I'm losing my edge to the art-school Bremen 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the chamberlin 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 Clear Light to the dance kids.
I played it at the Crocodile.
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 Excepter. All the underground hits.
All Connie Case tracks. I heard you have a vinyl of every The J.B.'s 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 '70s.
I hear you're buying a spring reverb and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Richard Hell and the Voidoids record.
I hear that you and your band have sold your mellotron and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Echospace,
Byron Stingily,
Smog,
Hot Snakes,
The Fall,
The Mighty Diamonds,
Joe Finger,
Avey Tare,
Crime,
The Divine Comedy,
Bush Tetras,
Kevin Saunderson,
Amon Düül,
Pylon,
Echo & the Bunnymen,
Mo-Dettes,
Ponytail,
PIL,
Arthur Verocai,
David McCallum,
Cymande,
Black Sheep,
Todd Rundgren,
Sly & The Family Stone,
Goldenarms,
Sonny Sharrock,
Henry Cow,
Camouflage,
A Certain Ratio,
Amon Düül II,
The Slits,
The Monks,
Wighnomy Brothers & Robag Wruhme,
Cheater Slicks,
Eric Copeland,
The Litter,
Pierre Henry,
The Gap Band,
Rotary Connection,
Maleditus Sound,
Easy Going,
The Gladiators,
Subhumans,
Art Ensemble Of Chicago,
Bootsy's Rubber Band,
Bob Dylan,
Blossom Toes,
Grey Daturas,
48th St. Collective,
Fugazi,
Monolake,
Zapp,
Neu!,
Althea and Donna,
Ice-T,
The Seeds,
Nik Kershaw,
Gary Puckett & The Union Gap,
Röyhkä ja Rättö ja Lehtisalo,
Pole,
Jacques Brel,
Sexual Harrassment,
Peter Gordon & Love of Life Orchestra, Peter Gordon & Love of Life Orchestra, Peter Gordon & Love of Life Orchestra, Peter Gordon & Love of Life Orchestra.
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.