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 Solomon Islands and from Salvador.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Seoul and Woodstock.
I'm losing my edge to the art-school Johannesburg 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the theremin sounds with much patience.
I was there when Tom Verlaine 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 Gabor Szabo to the punk kids.
I played it at the Roxy.
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 Chris Corsano. All the underground hits.
All Eric Dolphy tracks. I heard you have a vinyl of every Lightning Bolt record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a 808 and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Rhythm & Sound record.
I hear that you and your band have sold your theremin and bought a sitar.
I hear that you and your band have sold your sitar and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Model 500,
Aaron Thompson,
Popol Vuh,
Skaos,
Urselle,
Andrew Ashong & Theo Parrish,
Bootsy Collins,
Eric Dolphy,
De La Soul & Jungle Brothers,
Matthew Halsall,
Tom Boy,
Bill Wells,
The Dave Clark Five,
Public Enemy,
Gary Puckett & The Union Gap,
Graham Central Station,
The Doors,
Gang Gang Dance,
The Black Dice,
Althea and Donna,
The Five Americans,
Todd Rundgren,
The Gories,
Malaria!,
The West Coast Pop Art Experimental Band,
Fat Boys,
The Remains,
Von Mondo,
The Sound,
Tears for Fears,
Boz Scaggs,
Dead Boys,
The American Breed,
Whodini,
Guru Guru,
Marine Girls,
Fort Wilson Riot,
The Move,
Deakin,
MDC,
Laurel Aitken,
Derrick Morgan,
Fluxion,
Supertramp,
The Stooges,
Peter Gordon & Love of Life Orchestra,
Agitation Free,
Deutsch Amerikanische Freundschaft,
Mission of Burma,
Ultra Naté,
EPMD,
The Skatalites,
Colin Newman,
Flipper,
Hoover,
Sly & The Family Stone,
Red Lorry Yellow Lorry,
The Modern Lovers,
Yusef Lateef,
Warsaw,
Glenn Branca,
Panda Bear,
T.S.O.L.,
Rhythm & Sound, Rhythm & Sound, Rhythm & Sound, Rhythm & Sound.
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.