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 Uruguay and from Manchester.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Johannesburg and Woodstock.
I'm losing my edge to the art-school Houston 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 theremin sounds with much patience.
I was there when Robert Palmer 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 LL Cool J to the punk kids.
I played it at the Astoria.
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 The Sisters of Mercy. All the underground hits.
All Gil Scott-Heron & Brian Jackson tracks. I heard you have a vinyl of every Pantaleimon record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a chamberlin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Kerri Chandler record.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Circle Jerks,
Deepchord,
The Cramps,
The United States of America,
Television,
Sight & Sound,
Be Bop Deluxe,
The Smiths,
Lindisfarne,
X-Ray Spex,
Cameo,
Eric B and Rakim,
the Association,
The Tremeloes,
Black Sheep,
It's A Beautiful Day,
The Blackbyrds,
The Barracudas,
Lou Reed & John Cale,
Thee Headcoats,
Bootsy Collins,
Sixth Finger,
Pierre Henry,
Dark Day,
The Star Department,
Nation of Ulysses,
Robert Hood,
Stetsasonic,
Lebanon Hanover,
Symarip,
Nico,
The Shadows of Knight,
The Cosmic Jokers,
Au Pairs,
Sugar Minott,
Boogie Down Productions,
These Immortal Souls,
The Fall,
The Misunderstood,
Scott Walker,
Andrew Ashong & Theo Parrish,
China Crisis,
Heavy D & The Boyz,
Drive Like Jehu,
Von Mondo,
The Pretty Things,
Niagra,
K-Klass,
Sly & The Family Stone,
Davy DMX,
Popol Vuh,
FM Einheit,
Delta 5,
Janne Schatter,
Porter Ricks,
The Litter,
the Bar-Kays,
Eurythmics,
Lakeside,
The Fortunes,
Thinking Fellers Union Local 282,
Make Up, Make Up, Make Up, Make Up.
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.