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 Cameroon and from Woodstock.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1970.
I'm losing my edge.
To all the kids in Shanghai and Mumbai.
I'm losing my edge to the art-school Bologna 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 linndrum sounds with much patience.
I was there when Tom Verlaine 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 James Chance & The Contortions 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 Metal Thangz. All the underground hits.
All Kool G Rap & DJ Polo tracks. I heard you have a vinyl of every The Angels of Light record on German import.
I heard that you have a white label of every seminal disco 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 mellotron and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Adolescents record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Minny Pops,
Grandmaster Flash,
Carl Craig,
Pussy Galore,
Public Image Ltd.,
Boz Scaggs,
Skriet,
Cal Tjader,
Lalann,
The Doors,
Quando Quango,
The Velvet Underground,
Black Flag,
Ken Boothe,
Harry Pussy,
The Divine Comedy,
D'Angelo,
Lower 48,
The Seeds,
Angels of Light & Akron/Family,
Tears for Fears,
Cecil Taylor,
Terrestrial Tones,
Scientists,
Darondo,
Dorothy Ashby,
Scion,
Harmonia,
Lou Christie,
Red Lorry Yellow Lorry,
Man Parrish,
Matthew Halsall,
Television,
Kerrie Biddell,
Make Up,
The Motions,
Stockholm Monsters,
Quadrant,
Barrington Levy,
Mary Jane Girls,
Lindisfarne,
Bootsy's Rubber Band,
The Neon Judgement,
Siouxsie and the Banshees,
Amazonics,
Orchestral Manoeuvres in the Dark,
Trumans Water,
Kool G Rap & DJ Polo,
World's Most,
Bobby Hutcherson,
Schoolly D,
The Sound,
Monks,
Intrusion,
Flipper,
kango's stein massive,
Matthew Bourne,
Kool Moe Dee,
Gil Scott Heron,
The Young Rascals,
Tres Demented, Tres Demented, Tres Demented, Tres Demented.
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.