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 Netherlands and from Houston.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Lyon and Columbus.
I'm losing my edge to the art-school London 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 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 The Associates to the funk kids.
I played it at Trash.
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 & Cosey. All the underground hits.
All Manfred Mann's Earth Band tracks. I heard you have a vinyl of every Y Pants record on German import.
I heard that you have a white label of every seminal techno 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 spring reverb and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Byron Stingily record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Monks,
Lou Reed & Metallica,
Dr. Dre and Snoop Doggy Dog,
Con Funk Shun,
Audionom,
Tubeway Army,
Yaz,
A Flock of Seagulls,
Pete Rock & C.L. Smooth,
The Motions,
B.T. Express,
Tomorrow,
the Normal,
The Selecter,
Scrapy,
The Mummies,
PIL,
Newcleus,
The Leaves,
Matthew Bourne,
Sad Lovers and Giants,
These Immortal Souls,
Alton Ellis,
Q and Not U,
Ronnie Foster,
Television,
The Smiths,
John Holt,
Easy Going,
Junior Murvin,
The Knickerbockers,
Japan,
The Pretty Things,
Big Daddy Kane,
Cameo,
The Grass Roots,
Arthur Verocai,
Arcadia,
Crooked Eye,
Gang Green,
Royal Trux,
Mission of Burma,
Rahsaan Roland Kirk,
Altered Images,
Bobbi Humphrey,
Magma,
Jandek,
Brothers Johnson,
X-102,
Cabaret Voltaire,
Grauzone,
Eric Dolphy,
Unwound,
Bill Wells,
Girls At Our Best!,
The Doors,
Rufus Thomas,
Johnny Osbourne,
Graham Central Station,
Sun Ra Arkestra,
The Wake,
Pussy Galore,
Index,
H. Thieme,
Excepter, Excepter, Excepter, Excepter.
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.