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 Ethiopia and from Lille.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1972.
I'm losing my edge.
To all the kids in Copenhagen and Sao Paulo.
I'm losing my edge to the art-school Winnipeg 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 organ 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 Bill Near to the funk kids.
I played it at Trash.
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 Art Ensemble Of Chicago. All the underground hits.
All Jesper Dahlbäck tracks. I heard you have a vinyl of every Arthur Verocai 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 '70s.
I hear you're buying a güiro and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Techniques record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
10cc,
Aural Exciters,
Al Stewart,
Young Marble Giants,
Symarip,
Mr. Review,
Jawbox,
Lou Reed,
Avey Tare's Slasher Flicks,
Mo-Dettes,
A Flock of Seagulls,
Black Moon,
The Cramps,
Ralphi Rosario,
Hot Snakes,
Gary Puckett & The Union Gap,
The Slits,
Gichy Dan,
Byron Stingily,
Unrelated Segments,
T. Rex,
London Community Gospel Choir,
Todd Terry,
Derrick Morgan,
Prince Buster,
Marmalade,
The American Breed,
Skaos,
UT,
Crash Course in Science,
A Certain Ratio,
the Germs,
Bobby Byrd,
Los Fastidios,
Minny Pops,
Idris Muhammad,
Danielle Patucci,
DNA,
Captain Beefheart & His Magic Band,
Fatback Band,
Maleditus Sound,
Fad Gadget,
Essential Logic,
Hashim,
Skriet,
Kauko Röyhkä ja Narttu,
Flamin' Groovies,
E-Dancer,
Second Layer,
Big Daddy Kane,
Vladislav Delay,
The Stooges,
Tres Demented,
Jandek,
Alice Coltrane,
Eurythmics,
F. McDonald,
Supertramp,
Angels of Light & Akron/Family,
X-101,
Bill Near,
The Smiths,
Soulsonic Force,
Siouxsie and the Banshees,
Schoolly D, Schoolly D, Schoolly D, Schoolly D.
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.