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 Guinea and from Taipei.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Seoul and Columbus.
I'm losing my edge to the art-school Manila 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 arpeggiator sounds with much patience.
I was there when Lou Reed 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 Pulsallama to the dance 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 Marshall Jefferson. All the underground hits.
All Negative Approach tracks. I heard you have a vinyl of every Hasil Adkins 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 '70s.
I hear you're buying a rhodes and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Q65 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?
Rekid,
Ralphi Rosario,
Pet Shop Boys,
The Litter,
E-Dancer,
Bush Tetras,
Marshall Jefferson,
Can,
Quantec,
The Fall,
June Days,
Soulsonic Force,
Erykah Badu,
Mandrill,
Roy Ayers Ubiquity,
T. Rex,
Girls At Our Best!,
Rotary Connection,
These Immortal Souls,
Bobby Womack,
Ash Ra Tempel,
Fluxion,
Joy Division,
the Bar-Kays,
Amon Düül,
Animal Collective,
The Motions,
Severed Heads,
the Germs,
Jeff Mills,
Ultimate Spinach,
Judy Mowatt,
Black Sheep,
Rod Modell,
The Saints,
Supertramp,
Michelle Simonal,
Joe Finger,
Symarip,
Pole,
Gian Franco Pienzio,
New York Dolls,
Godley & Creme,
Avey Tare's Slasher Flicks,
The Names,
Ronnie Foster,
Aaron Thompson,
Urselle,
The Five Americans,
Parry Music,
The Grass Roots,
Nick Cave & The Bad Seeds,
Gil Scott Heron,
Teenage Jesus and the Jerks,
Josef K,
John Holt,
Guru Guru,
Unwound,
Bad Manners,
The Golliwogs,
Simply Red,
Lee Hazlewood, Lee Hazlewood, Lee Hazlewood, Lee Hazlewood.
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.