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 Nauru and from Milan.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Mumbai and Madrid.
I'm losing my edge to the art-school Glasgow 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 rhodes 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 The Evens to the punk 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 David Axelrod. All the underground hits.
All Man Eating Sloth tracks. I heard you have a vinyl of every Rhythm & Sound record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a 808 and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Lyres record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crash Course in Science,
Todd Terry,
Major Organ And The Adding Machine,
Whodini,
Andrew Ashong & Theo Parrish,
Cecil Taylor,
Scion,
Wasted Youth,
Pet Shop Boys,
Quadrant,
Patti Smith,
New York Dolls,
Nik Kershaw,
The Neon Judgement,
David Axelrod,
Radio Birdman,
Electric Prunes,
The Dead C,
Black Moon,
Icehouse,
Y Pants,
Eli Mardock,
Flash Fearless,
Kings Of Tomorrow,
Dark Day,
Hot Snakes,
Nation of Ulysses,
Royal Trux,
Derrick May,
Art Ensemble Of Chicago,
The Golliwogs,
Maleditus Sound,
Kerrie Biddell,
Johnny Clarke,
Unwound,
the Slits,
Boredoms,
Kerri Chandler,
Country Joe & The Fish,
Iggy Pop,
Pole,
Grandmaster Flash,
Thompson Twins,
Sun Ra Arkestra,
Ludus,
ABC,
Camberwell Now,
Fad Gadget,
The Martian,
Rod Modell,
Outsiders,
Laurel Aitken,
Rahsaan Roland Kirk,
The American Breed,
The Pretty Things,
The Fire Engines,
Average White Band,
Pharaoh Sanders and the Fire Engines,
Camron Feat. Jay Z And Juelz,
Vladislav Delay, Vladislav Delay, Vladislav Delay, Vladislav Delay.
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.