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 Angola and from London.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Halifax and Toronto.
I'm losing my edge to the art-school Halifax 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 Big Star practice in a loft in Memphis.
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 Skaos to the techno kids.
I played it at the 40 Watt.
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 Seeds. All the underground hits.
All Mary Jane Girls tracks. I heard you have a vinyl of every Crime record on German import.
I heard that you have a white label of every seminal techno 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 marimba and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Grandmaster Flash record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marvin Gaye,
Crispian St. Peters,
Magazine,
The Pop Group,
Stetsasonic,
Whodini,
Idris Muhammad,
Arab on Radar,
The Fire Engines,
Thee Headcoats,
The Sonics,
Ash Ra Tempel,
Electric Light Orchestra,
Bush Tetras,
U.S. Maple,
Super Lover Cee & Casanova Rud,
Cecil Taylor,
Albert Ayler,
The Victims,
Sister Nancy,
Nas,
June of 44,
Pet Shop Boys,
Second Layer,
Freddie Wadling,
Sam Rivers,
Leonard Cohen,
Ultramagnetic MC's,
Rotary Connection,
New Age Steppers,
The Busters,
Davy DMX,
John Foxx,
Sight & Sound,
Man Parrish,
Accadde A,
Visage,
Buzzcocks,
Laurel Aitken,
Derrick Morgan,
Massinfluence,
Jawbox,
Pole,
Sun City Girls,
Colin Newman,
Gang of Four,
Strawberry Alarm Clock,
Liaisons Dangereuses,
Peter Gordon & Love of Life Orchestra,
Pharoah Sanders,
The Doors,
Qualms,
John Holt,
Ronan,
The Young Rascals,
Amon Düül,
The Red Krayola,
Scientists,
Au Pairs,
Blake Baxter,
The Remains,
Cluster, Cluster, Cluster, Cluster.
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.