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 Slovenia and from Johannesburg.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1961 to 1978.
I'm losing my edge.
To all the kids in Lille and Halifax.
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 harpsichord sounds with much patience.
I was there when Michael McDonald 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 Black Moon 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 Jerry's Kids. All the underground hits.
All Sixth Finger tracks. I heard you have a vinyl of every Sly & The Family Stone record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a guitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Black Flag record.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
This Heat,
Bootsy Collins,
Juan Atkins,
The Divine Comedy,
AZ,
Theoretical Girls,
Dual Sessions,
Siglo XX,
F. McDonald,
The Moody Blues,
Surgeon,
Nirvana,
Albert Ayler,
Jeru the Damaja,
Larry & the Blue Notes,
Deepchord,
Au Pairs,
Gong,
Delta 5,
Lebanon Hanover,
Schoolly D,
Crime,
Neu!,
Sun City Girls,
Sixth Finger,
Scientists,
The Durutti Column,
Lou Reed & John Cale,
The New Christs,
Little Man,
Nation of Ulysses,
Hot Snakes,
Art Ensemble Of Chicago,
Newcleus,
Khruangbin,
The Techniques,
Brick,
Das Ding,
David Bowie,
Gregory Isaacs,
Gian Franco Pienzio,
Bang on a Can All-Stars,
Pierre Henry,
the Sonics,
The Victims,
Intrusion,
Cameo,
Loose Ends,
The Birthday Party,
Kerri Chandler,
John Cale,
John Coltrane,
Audionom,
Eve St. Jones,
The American Breed,
Davy DMX,
Babytalk,
Can,
Jesper Dahlbäck,
Rowland S Howard / Lydia Lunch,
Reuben Wilson,
Howard Jones,
the Germs, the Germs, the Germs, the Germs.
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.