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 Kuwait and from Manila.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Delhi and Paris.
I'm losing my edge to the art-school New York 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the linndrum 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 Metal Thangz to the disco 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 Gregory Isaacs. All the underground hits.
All Brass Construction tracks. I heard you have a vinyl of every Jawbox record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a harpsichord and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Eli Mardock record.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wolf Eyes,
Marc Romboy vs. Booka Shade,
Fela Kuti,
Electric Light Orchestra,
Jerry Gold Smith,
Quantec,
Gian Franco Pienzio,
Reuben Wilson,
Crooked Eye,
Barclay James Harvest,
Moebius,
The Index,
Fluxion,
Ultra Naté,
David McCallum,
Radio Birdman,
Lebanon Hanover,
Main Source,
Pantaleimon,
Avey Tare & Kría Brekkan,
The Barracudas,
Public Image Ltd.,
Grandmaster Flash,
Essential Logic,
Shoche,
The Stooges,
Harry Pussy,
Angry Samoans,
The Tremeloes,
Slave,
Oneida,
Porter Ricks,
Mo-Dettes,
Eden Ahbez,
John Foxx,
Scrapy,
John Lydon,
The Sound,
Rhythim Is Rhythim,
Popol Vuh,
Kool Moe Dee,
Siouxsie and the Banshees,
Young Marble Giants,
Motorama,
AZ,
Can,
Avey Tare's Slasher Flicks,
Flamin' Groovies,
Toni Rubio,
Cymande,
Sister Nancy,
Neil Young & Crazy Horse,
Bizarre Inc.,
Make Up,
Camouflage,
Maurizio,
48th St. Collective,
Audionom,
Swans,
Josef K,
Country Joe & The Fish, Country Joe & The Fish, Country Joe & The Fish, Country Joe & The Fish.
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.