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 Montenegro and from Copenhagen.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Lyon and Paris.
I'm losing my edge to the art-school Beijing 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 David Bowie 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 Sunsets and Hearts to the funk kids.
I played it at the Roxy.
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 The Happenings. All the underground hits.
All Deutsch Amerikanische Freundschaft tracks. I heard you have a vinyl of every The Beau Brummels record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a marimba and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Scott Walker record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jacob Miller,
The Monks,
These Immortal Souls,
Theoretical Girls,
Carl Craig,
The Residents,
The Men They Couldn't Hang,
Arthur Verocai,
Japan,
Youth Brigade,
Notorious Big And Bone Thugs,
Boredoms,
Anthony Braxton,
Sugar Minott,
Justin Hinds & The Dominoes,
John Coltrane,
The Electric Prunes,
Kevin Saunderson,
Q65,
Fugazi,
F. McDonald,
Godley & Creme,
Matthew Halsall,
Archie Shepp,
The Zeros,
Groovy Waters,
Das Ding,
Strawberry Alarm Clock,
Cecil Taylor,
Marine Girls,
The Music Machine,
The Divine Comedy,
Vladislav Delay,
Big Daddy Kane,
Radiohead,
Bronski Beat,
Lightning Bolt,
Sticky Fingaz feat. Raekwon,
Crash Course in Science,
Crispy Ambulance,
Erasure,
Malaria!,
The Index,
Dave Gahan,
Kool G Rap & DJ Polo,
Scrapy,
cv313,
The Fugs,
Gian Franco Pienzio,
U.S. Maple,
The Toasters,
Eurythmics,
Gabor Szabo,
Alton Ellis,
Rotary Connection,
The Barracudas,
Sonic Youth,
Funkadelic,
Fad Gadget,
Sarah Menescal,
Audionom,
Reagan Youth,
Mission of Burma,
Jesper Dahlbäck, Jesper Dahlbäck, Jesper Dahlbäck, Jesper Dahlbäck.
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.