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 Pakistan and from Beijing.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Spokane and Bremen.
I'm losing my edge to the art-school Lyon 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 1977 at the first Mistral practice in a loft in Amsterdam.
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 Little Man to the dance 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 Monks. All the underground hits.
All Albert Ayler tracks. I heard you have a vinyl of every a-ha record on German import.
I heard that you have a white label of every seminal electroclash 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 spring reverb and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Marmalade record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brick,
Scion,
Young Marble Giants,
The Pretty Things,
World's Most,
Traffic Nightmare,
Metal Thangz,
The Neon Judgement,
Dual Sessions,
Sex Pistols,
The Cramps,
Pete Rock & C.L. Smooth,
Popol Vuh,
Derrick Morgan,
Colin Newman,
The Gun Club,
Pharaoh Sanders and the Fire Engines,
Thee Headcoats,
Model 500,
Panda Bear,
Pylon,
The Motions,
Carl Craig,
Strawberry Alarm Clock,
Wolf Eyes,
Bootsy's Rubber Band,
Tim Buckley,
John Holt,
Swell Maps,
B.T. Express,
The Chocolate Watch Band,
The Mummies,
the Swans,
Joe Finger,
Minutemen,
Tres Demented,
Chrome,
Monks,
John Foxx,
Angels of Light & Akron/Family,
Gang Starr,
Eden Ahbez,
Khruangbin,
Severed Heads,
Eurythmics,
Tomorrow,
Radio Birdman,
Charles Mingus,
Essential Logic,
The Moleskins,
The New Christs,
Matthew Bourne,
Dorothy Ashby,
Jerry Gold Smith,
Rhythm & Sound,
Eve St. Jones,
A Flock of Seagulls,
Reuben Wilson,
Barry Ungar,
E-Dancer,
Liaisons Dangereuses,
These Immortal Souls, These Immortal Souls, These Immortal Souls, These Immortal Souls.
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.