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 Honduras and from Bologna.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Lyon and Tokyo.
I'm losing my edge to the art-school Stockholm 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 linndrum 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 Ornette Coleman to the grunge 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 Rapeman. All the underground hits.
All Ossler tracks. I heard you have a vinyl of every Crispian St. Peters record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying an organ and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Man Parrish record.
I hear that you and your band have sold your güiro and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roy Ayers Ubiquity,
PIL,
Minor Threat,
Lightning Bolt,
Henry Cow,
The Fire Engines,
ABC,
Louis and Bebe Barron,
John Holt,
Bang on a Can All-Stars,
Black Flag,
Organ,
Stiv Bators,
Jesper Dahlbäck,
The Blackbyrds,
Pantaleimon,
The Monks,
Roger Hodgson,
Ohio Players,
Visionaries,LMNO, T- Love & Iriscience,
Wighnomy Brothers & Robag Wruhme,
In Retrospect,
Gerry Rafferty,
Albert Ayler,
Robert Görl,
The Doobie Brothers,
Sugar Minott,
Gong,
Lizzy Mercier Descloux,
Leonard Cohen,
The Mummies,
Motorama,
Cameo,
Idris Muhammad,
Jacques Brel,
Cal Tjader,
Jeru the Damaja,
MDC,
Kevin Saunderson,
Crime,
Traffic Nightmare,
Dennis Brown,
Ken Boothe,
Ajijia Myrayebe,
Slick Rick,
Terrestrial Tones,
Inner City,
Roxy Music,
Barbara Tucker,
Aural Exciters,
Vainqueur,
Ultimate Spinach,
London Community Gospel Choir,
Sonic Youth,
MC5,
Harmonia,
Accadde A,
Steve Hackett,
Can,
The Misunderstood, The Misunderstood, The Misunderstood, The Misunderstood.
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.