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 Morocco and from Hong Kong.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Tokyo and Mexico City.
I'm losing my edge to the art-school Stockholm 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 rhodes sounds with much patience.
I was there when Captain Beefheart 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 Bobby Sherman to the grunge kids.
I played it at CBGB's.
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 Cecil Taylor. All the underground hits.
All The Victims tracks. I heard you have a vinyl of every Wally Richardson 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 '50s cut and another box set from the '80s.
I hear you're buying a marimba and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Real Kids record.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kerrie Biddell,
Bush Tetras,
The New Christs,
The Trojans,
F. McDonald,
Aloha Tigers,
The Residents,
The Fall,
Amon Düül II,
KRS-One,
The Gladiators,
Jerry Gold Smith,
Inner City,
Echospace,
Joe Smooth,
Eyeless In Gaza,
Marcia Griffiths,
Blossom Toes,
Eden Ahbez,
Sexual Harrassment,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Raincoats,
The Tremeloes,
Jeru the Damaja,
Terry Callier,
Letta Mbulu,
Scion,
Main Source,
Peter and Kerry,
Scratch Acid,
Iggy Pop,
Pole,
Curtis Mayfield,
Nick Fraelich,
Crispian St. Peters,
Tomorrow,
Gil Scott-Heron & Brian Jackson,
Neu!,
Barry Ungar,
The Detroit Cobras,
Slick Rick,
Anakelly,
Popol Vuh,
Alice Coltrane,
Suicide,
The Star Department,
Amon Düül,
Parry Music,
FM Einheit,
T. Rex,
Ohio Players,
B.T. Express,
Pet Shop Boys,
the Association,
Robert Görl,
Alphaville,
Sarah Menescal,
Harpers Bizarre,
Electric Light Orchestra,
Scott Walker,
The Fugs,
R.M.O.,
Ronan, Ronan, Ronan, Ronan.
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.