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 Mauritius and from Bremen.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Philadelphia and Delhi.
I'm losing my edge to the art-school Toronto 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 linndrum sounds with much patience.
I was there when Lou Reed 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 Crispian St. Peters to the punk 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 Jimmy McGriff. All the underground hits.
All Brick tracks. I heard you have a vinyl of every Kurtis Blow 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 '80s cut and another box set from the '70s.
I hear you're buying a guitar and a rhodes 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 sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Visage,
Q and Not U,
Connie Case,
Marcia Griffiths,
Barry Ungar,
Pharaoh Sanders and the Fire Engines,
Monks,
Pulsallama,
Harry Pussy,
Eyeless In Gaza,
The Busters,
Young Marble Giants,
Public Image Ltd.,
Unwound,
Surgeon,
Interpol,
The Gories,
Arthur Verocai,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Thompson Twins,
Freddie Wadling,
Deakin,
Robert Hood,
Avey Tare's Slasher Flicks,
Todd Terry,
Pete Rock & C.L. Smooth,
kango's stein massive,
Magma,
Pylon,
Nation of Ulysses,
Eric Dolphy,
F. McDonald,
B.T. Express,
Malaria!,
Stockholm Monsters,
X-101,
Fort Wilson Riot,
Andrew Hill,
Funkadelic,
The Associates,
Lucky Dragons,
The Cramps,
Quantec,
The Gap Band,
R.M.O.,
The Chocolate Watch Band,
David Axelrod,
Eddi Front,
Dual Sessions,
Frankie Knuckles,
The American Breed,
Roy Ayers,
Electric Light Orchestra,
The Motions,
Lafayette Afro Rock Band,
Quadrant,
The Electric Prunes,
The Names,
Scientists,
Sam Rivers,
The Red Krayola,
Icehouse, Icehouse, Icehouse, Icehouse.
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.