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 Mali and from Spokane.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Tokyo and Manchester.
I'm losing my edge to the art-school Mumbai 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 harpsichord 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 Hardrive to the disco 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 The Moleskins. All the underground hits.
All Cabaret Voltaire tracks. I heard you have a vinyl of every Parry Music record on German import.
I heard that you have a white label of every seminal crunk 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 spring reverb and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Arthur Verocai record.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oppenheimer Analysis,
Slave,
Kauko Röyhkä ja Narttu,
10cc,
Bobby Hutcherson,
Schoolly D,
The Human League,
Make Up,
Marine Girls,
Alton Ellis,
X-Ray Spex,
DNA,
The Fuzztones,
David Axelrod,
Lebanon Hanover,
Cecil Taylor,
Yellowson,
The Flesh Eaters,
James Chance & The Contortions,
A Flock of Seagulls,
Yaz,
The Smoke,
DJ Sneak,
Jeru the Damaja,
The Detroit Cobras,
Scion,
Moby Grape,
The United States of America,
ABBA,
Sad Lovers and Giants,
Pete Rock & C.L. Smooth,
Lou Reed,
Alison Limerick,
Aaron Thompson,
Ornette Coleman,
Mark Hollis,
Charles Mingus,
Roy Ayers Ubiquity,
Blancmange,
Heaven 17,
Ten City,
Idris Muhammad,
Lyres,
Swans,
Fort Wilson Riot,
Lower 48,
Soulsonic Force,
Trumans Water,
Gichy Dan,
The Toasters,
Barclay James Harvest,
Essential Logic,
The Trojans,
The Barracudas,
Smog,
Deadbeat,
Be Bop Deluxe,
The Buckinghams,
The Durutti Column,
48th St. Collective,
The Skatalites,
Lightning Bolt,
Dark Day,
Jacob Miller, Jacob Miller, Jacob Miller, Jacob Miller.
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.