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 Djibouti and from Paris.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Hong Kong and Glasgow.
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 mellotron 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 Glambeats Corp. to the jazz kids.
I played it at Cafe Wha.
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 Sound Behaviour. All the underground hits.
All Brothers Johnson tracks. I heard you have a vinyl of every Minor Threat 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 linndrum and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Gun Club record.
I hear that you and your band have sold your spring reverb and bought a güiro.
I hear that you and your band have sold your güiro 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?
Piero Umiliani,
Lizzy Mercier Descloux,
The Men They Couldn't Hang,
Gerry Rafferty,
The Smoke,
48th St. Collective,
Television Personalities,
Swell Maps,
Wire,
World's Most,
Eli Mardock,
Jerry's Kids,
Subhumans,
The Gun Club,
FM Einheit,
Pylon,
Marvin Gaye,
Q and Not U,
The Tremeloes,
Bad Manners,
Von Mondo,
The Offenders,
Jacques Brel,
The Human League,
The Shadows of Knight,
Avey Tare,
Suburban Knight,
Lou Reed & Metallica,
Glambeats Corp.,
Monks,
Bootsy's Rubber Band,
John Foxx,
John Cale,
Amon Düül,
Mary Jane Girls,
Barclay James Harvest,
Jawbox,
Danielle Patucci,
Agitation Free,
Bluetip,
D'Angelo,
Jesper Dahlbäck,
Underground Resistance,
Lightning Bolt,
Sound Behaviour,
Crash Course in Science,
Bush Tetras,
Peter and Kerry,
The Standells,
Maleditus Sound,
AZ,
Max Romeo,
Gregory Isaacs,
Echospace,
Country Teasers,
Scion,
R.M.O.,
The Jesus and Mary Chain,
The Birthday Party,
Stiv Bators,
The Index,
Crime,
Half Japanese, Half Japanese, Half Japanese, Half Japanese.
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.