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 Barbados and from Glasgow.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 Woodstock and Beijing.
I'm losing my edge to the art-school Spokane 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 guitar sounds with much patience.
I was there when Michael McDonald 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 Avey Tare's Slasher Flicks to the crunk kids.
I played it at Cafe Wha.
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 A Flock of Seagulls. All the underground hits.
All Duran Duran tracks. I heard you have a vinyl of every Peter Gordon & Love of Life Orchestra record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a harpsichord and a clarinet 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 sitar and bought a theremin.
I hear that you and your band have sold your theremin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soft Cell,
Barry Ungar,
Black Bananas,
Sun Ra Arkestra,
Vainqueur,
The Remains,
Beasts of Bourbon,
Ultra Naté,
The Mojo Men,
Franke,
Hoover,
Gerry Rafferty,
Eurythmics,
World's Most,
H. Thieme,
Liaisons Dangereuses,
Brand Nubian,
Eric Dolphy,
Essential Logic,
Wighnomy Brothers & Robag Wruhme,
Alice Coltrane,
The Red Krayola,
Henry Cow,
Masters at Work,
Kango’s Stein Massive,
The Fugs,
Quando Quango,
Notorious Big And Bone Thugs,
Kauko Röyhkä ja Narttu,
Deakin,
Terry Callier,
Qualms,
La Düsseldorf,
Don Cherry,
Dr. Dre and Snoop Doggy Dog,
Gang Starr,
Rapeman,
Arab on Radar,
Mad Mike,
Teenage Jesus and the Jerks,
the Soft Cell,
Roxy Music,
Ohio Players,
Janne Schatter,
Icehouse,
Nick Fraelich,
Pete Rock & C.L. Smooth,
Andrew Hill,
John Cale,
Jandek,
Dawn Penn,
The Electric Prunes,
Black Sheep,
Khruangbin,
Andrew Ashong & Theo Parrish,
Boredoms,
Public Image Ltd.,
Whodini,
Bad Manners,
Talk Talk,
Jeff Mills,
Idris Muhammad,
The Alarm Clocks, The Alarm Clocks, The Alarm Clocks, The Alarm Clocks.
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.