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 Malta and from Seoul.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Winnipeg and Taipei.
I'm losing my edge to the art-school Seoul 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 808 sounds with much patience.
I was there when Captain Beefheart 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 Pretty Things to the jazz 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 Larry & the Blue Notes. All the underground hits.
All Kerri Chandler tracks. I heard you have a vinyl of every The Move record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a clarinet and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a These Immortal Souls record.
I hear that you and your band have sold your harpsichord and bought a guitar.
I hear that you and your band have sold your guitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jerry's Kids,
Avey Tare's Slasher Flicks,
Suburban Knight,
The Trojans,
Kool Moe Dee,
Lyres,
Barry Ungar,
Newcleus,
Patti Smith,
Mad Mike,
The Fuzztones,
Electric Light Orchestra,
Sun Ra Arkestra,
Ohio Players,
Little Man,
Orchestral Manoeuvres in the Dark,
Freddie Wadling,
Cluster,
The Fall,
Deakin,
T.S.O.L.,
John Coltrane,
Maurizio,
Marc Romboy vs. Booka Shade,
the Bar-Kays,
B.T. Express,
The Saints,
Bluetip,
OOIOO,
World's Most,
the Association,
Pantytec,
The Monochrome Set,
Tropical Tobacco,
DNA,
Jesper Dahlback,
Lou Reed & John Cale,
Prince Buster,
Matthew Bourne,
Heavy D & The Boyz,
Matthew Halsall,
FM Einheit,
Blossom Toes,
The Leaves,
John Lydon,
Boredoms,
Chris & Cosey,
Royal Trux,
Delta 5,
Zero Boys,
Peter and Kerry,
Pagans,
Robert Hood,
Grey Daturas,
The Dead C,
Section 25,
The Remains,
Strawberry Alarm Clock,
Aaron Thompson,
The Techniques,
Oblivians,
Max Romeo,
Skarface, Skarface, Skarface, Skarface.
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.