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 Portugal and from London.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1971.
I'm losing my edge.
To all the kids in Manchester and Salvador.
I'm losing my edge to the art-school Taipei 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 theremin 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 The Move to the electroclash kids.
I played it at the Astoria.
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 Joyce Sims. All the underground hits.
All Throbbing Gristle tracks. I heard you have a vinyl of every Rites of Spring record on German import.
I heard that you have a white label of every seminal funk 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 spring reverb and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Kings Of Tomorrow record.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
MDC,
The Fortunes,
Unrelated Segments,
The Martian,
Fifty Foot Hose,
Lee Hazlewood,
Animal Collective,
Derrick May,
James White and The Blacks,
Yazoo,
The Gladiators,
Gastr Del Sol,
Bootsy Collins,
Mary Jane Girls,
The Cowsills,
Drexciya,
The Shadows of Knight,
The Misunderstood,
Rufus Thomas,
Cymande,
Dorothy Ashby,
EPMD,
The Dirtbombs,
Zapp,
Lonnie Liston Smith,
Al Stewart,
DJ Sneak,
Erasure,
Tim Buckley,
Gabor Szabo,
Country Joe & The Fish,
Strawberry Alarm Clock,
Scion,
The Slits,
Suicide,
Groovy Waters,
Skriet,
Monolake,
the Normal,
Symarip,
Jeru the Damaja,
Parry Music,
ABC,
Rowland S Howard / Lydia Lunch,
Gichy Dan,
New Age Steppers,
The Index,
Pet Shop Boys,
Underground Resistance,
Rosa Yemen,
Aaron Thompson,
Boz Scaggs,
Fad Gadget,
The Mighty Diamonds,
Jacob Miller,
Black Sheep,
Alice Coltrane,
Vainqueur,
Amon Düül II,
Harry Pussy,
In Retrospect, In Retrospect, In Retrospect, In Retrospect.
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.