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 Oman 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 1960 to 1975.
I'm losing my edge.
To all the kids in Lyon and Accra.
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 chamberlin 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 Selector Dub Narcotic to the rap kids.
I played it at the Astoria.
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 the Association. All the underground hits.
All The West Coast Pop Art Experimental Band tracks. I heard you have a vinyl of every The Golliwogs record on German import.
I heard that you have a white label of every seminal punk 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 sitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a U.S. Maple 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?
Kerri Chandler,
Deakin,
Rahsaan Roland Kirk,
Von Mondo,
Yellowson,
Desert Stars,
Pylon,
Richard Hell and the Voidoids,
Inner City,
Supertramp,
Liliput,
Altered Images,
Bootsy Collins,
Faraquet,
Schoolly D,
Jeru the Damaja,
Skaos,
Dead Boys,
Porter Ricks,
Unrelated Segments,
The Smiths,
The Mummies,
The Fall,
Roy Ayers,
Girls At Our Best!,
Sarah Menescal,
Chrome,
Rosa Yemen,
The Raincoats,
Kauko Röyhkä ja Narttu,
the Association,
Mission of Burma,
The Dead C,
The American Breed,
Joe Smooth,
Art Ensemble Of Chicago,
Soul Sonic Force,
Selector Dub Narcotic,
Robert Wyatt,
La Düsseldorf,
Second Layer,
John Coltrane,
H. Thieme,
Gang Starr,
It's A Beautiful Day,
Pharaoh Sanders and the Fire Engines,
The Victims,
OOIOO,
Oblivians,
Radio Birdman,
Aural Exciters,
Radiopuhelimet,
Sight & Sound,
Josef K,
Jeff Lynne,
Quadrant,
Motorama,
Major Organ And The Adding Machine,
Kerrie Biddell,
Cymande,
the Soft Cell,
Curtis Mayfield,
Marshall Jefferson, Marshall Jefferson, Marshall Jefferson, Marshall Jefferson.
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.