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 East Timor and from Lagos.
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 1960 to 1978.
I'm losing my edge.
To all the kids in London and Glasgow.
I'm losing my edge to the art-school Salvador 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 Blake Baxter to the electroclash kids.
I played it at the Crocodile.
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 Urselle. All the underground hits.
All Todd Terry tracks. I heard you have a vinyl of every Bobby Byrd record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a chamberlin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a F. McDonald record.
I hear that you and your band have sold your guitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masters at Work,
Excepter,
Minnie Riperton,
Severed Heads,
Nation of Ulysses,
Anthony Braxton,
Susan Cadogan,
Drive Like Jehu,
Crime,
A Certain Ratio,
Robert Görl,
MDC,
Audionom,
Faust,
The Detroit Cobras,
Electric Light Orchestra,
The Stooges,
Harry Pussy,
Procol Harum,
Kauko Röyhkä ja Narttu,
Eddi Front,
Tres Demented,
Popol Vuh,
Quantec,
Rhythim Is Rhythim,
Magma,
Nils Olav,
Andrew Ashong & Theo Parrish,
Amon Düül II,
Dawn Penn,
Neil Young,
Glambeats Corp.,
Lebanon Hanover,
Minutemen,
Ash Ra Tempel,
Jandek,
Sonny Sharrock,
Sun Ra Arkestra,
kango's stein massive,
a-ha,
The Doors,
Loose Ends,
The Techniques,
Roxette,
Scrapy,
Slave,
Harpers Bizarre,
Motorama,
Scratch Acid,
Skriet,
The Beau Brummels,
Pete Rock & C.L. Smooth,
Rahsaan Roland Kirk,
Ultimate Spinach,
L. Decosne,
The Skatalites,
Blancmange,
Dual Sessions,
Livin' Joy,
Television,
Moss Icon, Moss Icon, Moss Icon, Moss Icon.
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.