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 Hungary and from Jakarta.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Portland and Calgary.
I'm losing my edge to the art-school Salvador 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 synthesizer 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 Skriet to the crunk kids.
I played it at the Spitz.
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 Mark Hollis. All the underground hits.
All Robert Hood tracks. I heard you have a vinyl of every Aaron Thompson 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 '80s cut and another box set from the '80s.
I hear you're buying a 808 and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Symarip record.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Country Teasers,
Amazonics,
Sexual Harrassment,
Thinking Fellers Union Local 282,
Circle Jerks,
Alison Limerick,
Aural Exciters,
Kaleidoscope,
Fatback Band,
Second Layer,
the Slits,
Roy Ayers,
Man Parrish,
Grey Daturas,
Black Bananas,
Scott Walker,
Kool Moe Dee,
The Wake,
Eve St. Jones,
The Vogues,
Soft Cell,
Siglo XX,
JFA,
Rapeman,
The Motions,
The Music Machine,
Pantaleimon,
Jeff Mills,
The Walker Brothers,
Lalann,
Urselle,
The Sisters of Mercy,
Easy Going,
Bobbi Humphrey,
The Leaves,
Camouflage,
Ultimate Spinach,
Tres Demented,
James White and The Blacks,
Graham Central Station,
Shoche,
Sarah Menescal,
The Real Kids,
Deadbeat,
Eric Dolphy,
Funkadelic,
Cheater Slicks,
The Trojans,
Bush Tetras,
Kango’s Stein Massive,
It's A Beautiful Day,
Can,
Average White Band,
June of 44,
Brass Construction,
Matthew Halsall,
48th St. Collective,
Man Eating Sloth,
Kevin Saunderson,
Rufus Thomas,
Gregory Isaacs,
The Searchers,
Chrome, Chrome, Chrome, Chrome.
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.