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 Denmark and from Bologna.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Halifax and Beijing.
I'm losing my edge to the art-school Mexico City 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 at the first Suicide practice in a loft in New York.
I was working on the güiro sounds with much patience.
I was there when Robert Palmer 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 Index to the rock kids.
I played it at the Troubador.
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 Graham Central Station. All the underground hits.
All Man Parrish tracks. I heard you have a vinyl of every Toni Rubio record on German import.
I heard that you have a white label of every seminal grime 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 synthesizer and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Rites of Spring record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gastr Del Sol,
MC5,
Schoolly D,
Rowland S Howard / Lydia Lunch,
Susan Cadogan,
Delta 5,
These Immortal Souls,
T.S.O.L.,
Oblivians,
Black Moon,
Das Ding,
Gregory Isaacs,
Circle Jerks,
Parry Music,
Tomorrow,
Pierre Henry,
The Gap Band,
Ultimate Spinach,
Saccharine Trust,
Roy Ayers Ubiquity,
Ajijia Myrayebe,
The Gladiators,
Liaisons Dangereuses,
Marc Almond,
Smog,
Teenage Jesus and the Jerks,
Janne Schatter,
Skaos,
Brand Nubian,
Newcleus,
Monks,
Derrick Morgan,
Rufus Thomas,
Fugazi,
Fatback Band,
Mantronix,
The Red Krayola,
Brass Construction,
Von Mondo,
Jerry's Kids,
Art Ensemble Of Chicago,
Avey Tare,
Sad Lovers and Giants,
Metal Thangz,
Peter and Kerry,
Michelle Simonal,
Sticky Fingaz feat. Raekwon,
Technova,
Deakin,
Blossom Toes,
Johnny Osbourne,
The Offenders,
the Normal,
Sällskapet,
Bluetip,
Bobby Sherman,
Tubeway Army,
the Germs,
Pharoah Sanders,
Joyce Sims,
The Fall,
The Martian, The Martian, The Martian, The Martian.
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.