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 Costa Rica and from Philadelphia.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Bologna and Toronto.
I'm losing my edge to the art-school Tehran 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 harpsichord sounds with much patience.
I was there when Michael McDonald 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 Sam Rivers to the rap kids.
I played it at the Troubador.
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 In Retrospect. All the underground hits.
All Bobby Sherman tracks. I heard you have a vinyl of every Marshall Jefferson record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a chamberlin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Curtis Mayfield record.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dead Boys,
Half Japanese,
Massinfluence,
Inner City,
Robert Görl,
The Beau Brummels,
X-101,
The Black Dice,
Man Eating Sloth,
Kings Of Tomorrow,
Iggy Pop,
Arcadia,
Television,
Whodini,
Nation of Ulysses,
Subhumans,
Warren Ellis,
Grauzone,
Tim Buckley,
Blossom Toes,
Davy DMX,
New York Dolls,
Wire,
The Blackbyrds,
Röyhkä ja Rättö ja Lehtisalo,
Jerry Gold Smith,
Marine Girls,
Minutemen,
Cybotron,
Freddie Wadling,
Bush Tetras,
cv313,
Ash Ra Tempel,
Desert Stars,
H. Thieme,
Zero Boys,
Cameo,
James Chance & The Contortions,
Gang Gang Dance,
Glenn Branca,
Rod Modell,
The Monochrome Set,
Kas Product,
Larry & the Blue Notes,
Groovy Waters,
Severed Heads,
EPMD,
The Zeros,
Harpers Bizarre,
La Düsseldorf,
Major Organ And The Adding Machine,
John Foxx,
The Kinks,
Radiopuhelimet,
Au Pairs,
De La Soul & Jungle Brothers,
the Bar-Kays,
John Coltrane,
Y Pants,
Drive Like Jehu,
Dr. Dre and Snoop Doggy Dog,
Jacques Brel,
Crime,
Susan Cadogan, Susan Cadogan, Susan Cadogan, Susan Cadogan.
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.