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 Bosnia Herzegovina and from Mexico City.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1971.
I'm losing my edge.
To all the kids in Salvador and Cairo.
I'm losing my edge to the art-school Edmonton 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 güiro 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 Gories to the punk kids.
I played it at CBGB's.
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 Aural Exciters. All the underground hits.
All Flamin' Groovies tracks. I heard you have a vinyl of every Glambeats Corp. record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a snare and a sitar 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 arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Procol Harum,
Desert Stars,
Wings,
Lightning Bolt,
Nation of Ulysses,
Fifty Foot Hose,
Throbbing Gristle,
The Neon Judgement,
Buzzcocks,
Cabaret Voltaire,
Slave,
Sam Rivers,
Minnie Riperton,
The Selecter,
Dark Day,
Lyres,
MDC,
The Fire Engines,
Rekid,
Bobbi Humphrey,
The Young Rascals,
Amon Düül II,
Steve Hackett,
Half Japanese,
Avey Tare,
Jesper Dahlback,
Joensuu 1685,
Heavy D & The Boyz,
Roger Hodgson,
Supertramp,
Pierre Henry,
Smog,
The Slackers,
Danielle Patucci,
Con Funk Shun,
Red Lorry Yellow Lorry,
Japan,
Letta Mbulu,
Pylon,
Susan Cadogan,
Lower 48,
Dead Boys,
Radiopuhelimet,
Ultra Naté,
Bill Near,
Silicon Teens,
Marcia Griffiths,
Bootsy Collins,
Roy Ayers Ubiquity,
Goldenarms,
Von Mondo,
Magazine,
The Pop Group,
The Doors,
Kerrie Biddell,
EPMD,
The Moody Blues,
The Cowsills,
Faraquet,
Outsiders,
The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band.
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.