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 the UAE and from New York.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Madrid and Paris.
I'm losing my edge to the art-school Stockholm 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 marimba 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 Rhythm & Sound to the punk 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 Ash Ra Tempel. All the underground hits.
All Moby Grape tracks. I heard you have a vinyl of every Angels of Light & Akron/Family 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 '50s cut and another box set from the '80s.
I hear you're buying a güiro and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Blake Baxter record.
I hear that you and your band have sold your theremin and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mr. Review,
Can,
Bad Manners,
Aural Exciters,
U.S. Maple,
Clear Light,
The Count Five,
The Young Rascals,
Jesper Dahlback,
Panda Bear,
Interpol,
London Community Gospel Choir,
Ohio Players,
Young Marble Giants,
Skaos,
Moby Grape,
Bauhaus,
Ultramagnetic MC's,
the Soft Cell,
Lalann,
Yazoo,
Peter Gordon & Love of Life Orchestra,
Roxy Music,
F. McDonald,
Tom Boy,
Oblivians,
Urselle,
Brass Construction,
Eyeless In Gaza,
Surgeon,
Dual Sessions,
Soft Machine,
Inner City,
Brick,
Wasted Youth,
Fear,
The Searchers,
Excepter,
Erasure,
Soul II Soul,
Spoonie Gee,
Pylon,
Maleditus Sound,
Henry Cow,
Nik Kershaw,
Crooked Eye,
Bang on a Can All-Stars,
The Saints,
Strawberry Alarm Clock,
Rekid,
Roger Hodgson,
Rites of Spring,
Nirvana,
World's Most,
Marc Almond,
Pharoah Sanders,
Sun Ra,
The Techniques,
MDC,
Toni Rubio,
The Remains, The Remains, The Remains, The Remains.
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.