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 Malta and from Winnipeg.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1974.
I'm losing my edge.
To all the kids in Columbus and Delhi.
I'm losing my edge to the art-school Columbus 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 1984 at the first Arcadia practice in a loft in London.
I was working on the snare 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 R.M.O. to the techno 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 Swans. All the underground hits.
All Blossom Toes tracks. I heard you have a vinyl of every The Star Department record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an organ and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Count Five record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gian Franco Pienzio,
Mad Mike,
Bizarre Inc.,
Talk Talk,
The Toasters,
Japan,
Clear Light,
The Wake,
ABC,
OOIOO,
kango's stein massive,
Brothers Johnson,
Tres Demented,
Amon Düül,
Dorothy Ashby,
Ash Ra Tempel,
Tim Buckley,
Sly & The Family Stone,
Terror Squad Feat. Camron,
PIL,
In Retrospect,
JFA,
Sex Pistols,
The New Christs,
The Gun Club,
Ten City,
Scan 7,
Harry Pussy,
Crash Course in Science,
Unrelated Segments,
Kenny Larkin,
Bobbi Humphrey,
The Doobie Brothers,
Gerry Rafferty,
Liaisons Dangereuses,
The Smiths,
Sixth Finger,
E-Dancer,
Monks,
Wally Richardson,
Black Bananas,
Alton Ellis,
the Human League,
Manfred Mann's Earth Band,
John Coltrane,
Rod Modell,
Angry Samoans,
Section 25,
Rites of Spring,
Fear,
Faust,
Mantronix,
The Smoke,
H. Thieme,
Gabor Szabo,
Monolake,
Lizzy Mercier Descloux,
Pagans,
Nils Olav,
Andrew Hill,
Man Eating Sloth,
Todd Terry,
Eric B and Rakim, Eric B and Rakim, Eric B and Rakim, Eric B and Rakim.
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.