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 Luxembourg and from Columbus.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Portland and Seoul.
I'm losing my edge to the art-school Calgary 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 1976 at the first Chic practice in a loft in New York.
I was working on the harpsichord sounds with much patience.
I was there when Michael McDonald 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 Juan Atkins to the punk kids.
I played it at Trash.
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 Loose Ends. All the underground hits.
All Cecil Taylor tracks. I heard you have a vinyl of every The 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 '70s.
I hear you're buying a spring reverb and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Flipper record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roger Hodgson,
Youth Brigade,
David Axelrod,
Peter Gordon & Love of Life Orchestra,
Orchestral Manoeuvres in the Dark,
Bluetip,
Loose Ends,
Supertramp,
Ten City,
Tommy Roe,
Deakin,
Black Sheep,
Black Flag,
Fatback Band,
John Coltrane,
Aural Exciters,
The Offenders,
the Bar-Kays,
Nirvana,
Letta Mbulu,
Scrapy,
Althea and Donna,
Albert Ayler,
The Fire Engines,
the Normal,
Malaria!,
Piero Umiliani,
Groovy Waters,
The Fuzztones,
Selector Dub Narcotic,
Audionom,
The Wake,
Marmalade,
Masters at Work,
Little Man,
Fugazi,
Terry Callier,
Camron Feat. Memphis Bleek And Beenie Seigel,
Brick,
New York Dolls,
Black Moon,
Thinking Fellers Union Local 282,
China Crisis,
Blossom Toes,
Severed Heads,
Major Organ And The Adding Machine,
The Gories,
Boredoms,
The Zeros,
Massinfluence,
Marshall Jefferson,
Lower 48,
Deutsch Amerikanische Freundschaft,
Arthur Verocai,
Electric Prunes,
Eli Mardock,
The Seeds,
Average White Band,
Dawn Penn,
The Walker Brothers,
The Neon Judgement,
A Flock of Seagulls,
Davy DMX, Davy DMX, Davy DMX, Davy DMX.
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.