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 Iceland and from Manchester.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1965 to 1975.
I'm losing my edge.
To all the kids in Delhi and Madrid.
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 theremin 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 Fire Engines 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 Gary Puckett & The Union Gap. All the underground hits.
All OOIOO tracks. I heard you have a vinyl of every Monolake record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a guitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Jesus and Mary Chain record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Junior Murvin,
T. Rex,
The Motions,
Fifty Foot Hose,
Bobby Sherman,
Eurythmics,
Reuben Wilson,
Todd Rundgren,
Boogie Down Productions,
The Offenders,
Dual Sessions,
Lucky Dragons,
Minutemen,
The Selecter,
Max Romeo,
Kool Moe Dee,
Suburban Knight,
Talk Talk,
Bootsy's Rubber Band,
X-101,
Black Bananas,
H. Thieme,
Quadrant,
Rapeman,
Larry & the Blue Notes,
The United States of America,
Neu!,
Amon Düül II,
Sarah Menescal,
Agitation Free,
Chrome,
Roxy Music,
Liaisons Dangereuses,
Big Daddy Kane,
Don Cherry,
Bobbi Humphrey,
Super Lover Cee & Casanova Rud,
the Fania All-Stars,
Cal Tjader,
Swell Maps,
Soft Machine,
The Happenings,
X-102,
Audionom,
Rhythim Is Rhythim,
Anthony Braxton,
Cybotron,
Flipper,
Royal Trux,
Bad Manners,
Peter & Gordon,
The Raincoats,
Dorothy Ashby,
Johnny Clarke,
DJ Style,
Icehouse,
Chris Corsano,
Judy Mowatt,
Archie Shepp, Archie Shepp, Archie Shepp, Archie Shepp.
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.