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 Philippines and from Madrid.
But I was there.
I was there in 1967.
I was there at the first Rodriguez 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 1967 to 1970.
I'm losing my edge.
To all the kids in Copenhagen and Calgary.
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 1978 at the first Visage practice in a loft in London.
I was working on the spring reverb 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 Delon & Dalcan to the techno 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 Blancmange. All the underground hits.
All Alison Limerick tracks. I heard you have a vinyl of every Slick Rick 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 '70s cut and another box set from the '90s.
I hear you're buying a chamberlin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Rhythm & Sound record.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Popol Vuh,
Reuben Wilson,
Joey Negro,
Cal Tjader,
Maleditus Sound,
Dawn Penn,
Gang Gang Dance,
The Last Poets,
Sun Ra,
The Smiths,
Bush Tetras,
Lonnie Liston Smith,
Sister Nancy,
Radiopuhelimet,
Ronan,
Stereo Dub,
Oblivians,
Bang On A Can,
Tommy Roe,
The Walker Brothers,
The Slits,
Prince Buster,
Barclay James Harvest,
Johnny Osbourne,
Deutsch Amerikanische Freundschaft,
Q and Not U,
The Young Rascals,
The Knickerbockers,
Throbbing Gristle,
The Cowsills,
Eden Ahbez,
The Electric Prunes,
Major Organ And The Adding Machine,
Scott Walker,
Crispy Ambulance,
The United States of America,
Public Image Ltd.,
Camberwell Now,
Absolute Body Control,
The Selecter,
Man Eating Sloth,
Kaleidoscope,
Rufus Thomas,
Desert Stars,
The Smoke,
Faust,
The Gories,
Andrew Ashong & Theo Parrish,
Shuggie Otis,
Black Sheep,
Porter Ricks,
Notorious Big And Bone Thugs,
Lafayette Afro Rock Band,
Fela Kuti,
The Durutti Column,
Teenage Jesus and the Jerks,
Ornette Coleman,
Interpol,
Index,
Avey Tare's Slasher Flicks,
DNA,
Nation of Ulysses,
Newcleus, Newcleus, Newcleus, Newcleus.
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.