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 Norway and from Toronto.
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 1972.
I'm losing my edge.
To all the kids in Tehran and Copenhagen.
I'm losing my edge to the art-school Winnipeg 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 synthesizer sounds with much patience.
I was there when Holger Czukay 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 Depeche Mode to the jazz 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 The Seeds. All the underground hits.
All Jawbox tracks. I heard you have a vinyl of every Fort Wilson Riot 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 clarinet and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Lizzy Mercier Descloux record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Barrington Levy,
Wally Richardson,
Hasil Adkins,
Tim Buckley,
Dead Boys,
Crispy Ambulance,
It's A Beautiful Day,
Sonny Sharrock,
Sound Behaviour,
Traffic Nightmare,
R.M.O.,
Todd Rundgren,
Wolf Eyes,
Warsaw,
Parry Music,
Sun Ra,
Avey Tare's Slasher Flicks,
Lou Christie,
Skriet,
Q65,
Flash Fearless,
Circle Jerks,
Vaughan Mason & Crew,
The Shadows of Knight,
Stetsasonic,
Gil Scott-Heron & Brian Jackson,
Harpers Bizarre,
Crash Course in Science,
Kerri Chandler,
Gil Scott Heron,
Bronski Beat,
Unrelated Segments,
Cymande,
The Fire Engines,
Tomorrow,
The Martian,
Fad Gadget,
The Cure,
Brick,
Audionom,
The Sisters of Mercy,
Grauzone,
Country Joe & The Fish,
Jerry Gold Smith,
Marmalade,
The Alarm Clocks,
Davy DMX,
Pulsallama,
Buzzcocks,
The Real Kids,
Rahsaan Roland Kirk,
Mars,
Erykah Badu,
Radio Birdman,
Jesper Dahlback,
The Count Five,
Con Funk Shun,
Notorious BIG live in Amsterdam,
Electric Prunes,
The Cowsills,
Erasure, Erasure, Erasure, Erasure.
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.