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 San Marino and from Milan.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Bremen and Spokane.
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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the guitar 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 Icehouse to the jazz 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 James White and The Blacks. All the underground hits.
All Ornette Coleman tracks. I heard you have a vinyl of every Radiohead record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an organ and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Magazine record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
U.S. Maple,
Hashim,
Joy Division,
Art Ensemble Of Chicago,
Nico,
Sixth Finger,
Radiopuhelimet,
The Gories,
Faust,
This Heat,
Jacques Brel,
Avey Tare & Kría Brekkan,
Kas Product,
Anakelly,
Jimmy McGriff,
Ohio Players,
The Kinks,
Deutsch Amerikanische Freundschaft,
Lindisfarne,
Susan Cadogan,
Kurtis Blow,
Sandy B,
The Stooges,
The Electric Prunes,
Notorious Big And Bone Thugs,
Jacob Miller,
Tres Demented,
The Count Five,
The Knickerbockers,
Barry Ungar,
Albert Ayler,
The Doors,
Angels of Light & Akron/Family,
Mark Hollis,
Model 500,
Camron Feat. Memphis Bleek And Beenie Seigel,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Magazine,
Gian Franco Pienzio,
Ossler,
Matthew Halsall,
F. McDonald,
Grauzone,
The J.B.'s,
Laurel Aitken,
Marmalade,
The Shadows of Knight,
Bronski Beat,
MC5,
Sexual Harrassment,
Minnie Riperton,
Curtis Mayfield,
Joey Negro,
Niagra,
Minutemen,
Scan 7,
Maleditus Sound,
Simply Red,
FM Einheit,
the Association,
Soul II Soul,
Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish.
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.