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 Palau and from Bologna.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Portland and Calgary.
I'm losing my edge to the art-school Paris 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 linndrum sounds with much patience.
I was there when Robert Palmer 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 Deadbeat to the punk 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 Half Japanese. All the underground hits.
All Young Marble Giants tracks. I heard you have a vinyl of every 10cc record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a mellotron and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Rhythm & Sound record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fad Gadget,
Glambeats Corp.,
Stiv Bators,
Gichy Dan,
The Fortunes,
Parry Music,
Jerry's Kids,
Symarip,
Delta 5,
Kauko Röyhkä ja Narttu,
Siglo XX,
Flipper,
Bootsy's Rubber Band,
Scientists,
The Seeds,
LL Cool J,
Graham Central Station,
The Mojo Men,
Rosa Yemen,
Kool G Rap & DJ Polo,
Sun City Girls,
Rites of Spring,
Lizzy Mercier Descloux,
Moss Icon,
8 Eyed Spy,
A Flock of Seagulls,
Minutemen,
The Birthday Party,
Lower 48,
the Slits,
Heaven 17,
Patti Smith,
The Index,
Ralphi Rosario,
R.M.O.,
Sad Lovers and Giants,
UT,
Lindisfarne,
Fat Boys,
Albert Ayler,
Scion,
Marcia Griffiths,
John Holt,
Los Fastidios,
Kings Of Tomorrow,
Echospace,
Strawberry Alarm Clock,
James Chance & The Contortions,
Tres Demented,
Main Source,
Anakelly,
Aural Exciters,
Davy DMX,
Jesper Dahlback,
Joyce Sims,
Public Enemy,
the Soft Cell,
Eurythmics,
Art Ensemble Of Chicago,
Radio Birdman,
Tim Buckley,
Johnny Clarke,
Angry Samoans,
Camberwell Now, Camberwell Now, Camberwell Now, Camberwell Now.
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.