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 Greece and from Lille.
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 1970.
I'm losing my edge.
To all the kids in Lagos and Copenhagen.
I'm losing my edge to the art-school Tehran 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 1973 at the first Television practice in a loft in New York.
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 Notorious Big And Bone Thugs to the funk kids.
I played it at the Hacienda.
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 Jesper Dahlback. All the underground hits.
All Shuggie Otis tracks. I heard you have a vinyl of every Aural Exciters record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a synthesizer and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Main Source record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Amon Düül,
Echospace,
The Five Americans,
The Blues Magoos,
Barry Ungar,
Ash Ra Tempel,
Little Man,
X-101,
Pulsallama,
Rakim,
Fifty Foot Hose,
Ituana,
Rosa Yemen,
Agent Orange,
La Düsseldorf,
Gichy Dan,
The Monks,
Reagan Youth,
June of 44,
Soul II Soul,
Bobbi Humphrey,
Pylon,
The Mojo Men,
Jacques Brel,
Theoretical Girls,
Electric Prunes,
B.T. Express,
The Raincoats,
The Gories,
The Doors,
Traffic Nightmare,
Severed Heads,
CMW,
Pantytec,
Suburban Knight,
Notorious Big And Bone Thugs,
Das Ding,
Andrew Hill,
Bootsy Collins,
Terror Squad Feat. Camron,
John Holt,
Young Marble Giants,
A Flock of Seagulls,
the Sonics,
Talk Talk,
One Last Wish,
Joyce Sims,
Motorama,
Sugar Minott,
Derrick May,
Selector Dub Narcotic,
Symarip,
Bobby Sherman,
Masters at Work,
Radio Birdman,
Marvin Gaye,
Mark Hollis,
Tres Demented,
Dorothy Ashby,
Nation of Ulysses,
Kevin Saunderson,
Glenn Branca,
Major Organ And The Adding Machine, Major Organ And The Adding Machine, Major Organ And The Adding Machine, Major Organ And The Adding Machine.
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.