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 Czech Republic and from Houston.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Woodstock and London.
I'm losing my edge to the art-school Beijing 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the organ sounds with much patience.
I was there when David Bowie 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 Strawberry Alarm Clock to the rap kids.
I played it at the Spitz.
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 Lizzy Mercier Descloux. All the underground hits.
All Rites of Spring tracks. I heard you have a vinyl of every Eric Dolphy record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a theremin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Associates record.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Peter & Gordon,
Soulsonic Force,
Moby Grape,
The Walker Brothers,
Ornette Coleman,
Aural Exciters,
Public Enemy,
L. Decosne,
Minor Threat,
Warsaw,
Bobbi Humphrey,
Major Organ And The Adding Machine,
Funky Four + One,
Peter and Kerry,
Minutemen,
Arcadia,
Sound Behaviour,
Andrew Ashong & Theo Parrish,
Lucky Dragons,
Soft Cell,
Pantaleimon,
Cybotron,
Carl Craig,
Rakim,
Erykah Badu,
Captain Beefheart & His Magic Band,
Jacob Miller,
Au Pairs,
The Sound,
Crime,
Fugazi,
In Retrospect,
Adolescents,
Gang Starr,
Minnie Riperton,
Procol Harum,
Masters at Work,
The Evens,
Bob Dylan,
Deepchord,
Susan Cadogan,
Janne Schatter,
Thompson Twins,
Eyeless In Gaza,
Accadde A,
Drive Like Jehu,
Faust,
Grandmaster Flash and the Furious Five,
Angels of Light & Akron/Family,
The Mummies,
Gang Gang Dance,
Amon Düül,
Gong,
Tropical Tobacco,
Main Source,
Rotary Connection,
Junior Murvin,
The Red Krayola,
Faraquet,
The Gladiators,
Whodini, Whodini, Whodini, Whodini.
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.