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 Algeria and from Jakarta.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Woodstock and Tokyo.
I'm losing my edge to the art-school Houston 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 arpeggiator 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 Boogie Down Productions to the techno kids.
I played it at the Hacienda.
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 Lightning Bolt. All the underground hits.
All Newcleus tracks. I heard you have a vinyl of every Leonard Cohen record on German import.
I heard that you have a white label of every seminal crunk 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 mellotron and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Marc Romboy vs. Booka Shade record.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oppenheimer Analysis,
Y Pants,
Can,
Q and Not U,
A Certain Ratio,
the Fania All-Stars,
Wally Richardson,
The Golliwogs,
The Mummies,
Fort Wilson Riot,
Saccharine Trust,
Fugazi,
Cameo,
Alice Coltrane,
Pet Shop Boys,
Sonic Youth,
The Fortunes,
The Barracudas,
Bang on a Can All-Stars,
Public Enemy,
Robert Görl,
Lindisfarne,
Barclay James Harvest,
Ornette Coleman,
Vainqueur,
Danielle Patucci,
Slave,
Moebius,
Bang On A Can,
The Martian,
Throbbing Gristle,
Mo-Dettes,
Trumans Water,
Boredoms,
Gian Franco Pienzio,
Technova,
Frankie Knuckles,
Suburban Knight,
James Chance & The Contortions,
Alison Limerick,
Lakeside,
Roger Hodgson,
Organ,
Ronnie Foster,
the Normal,
Alton Ellis,
Marc Almond,
The Smiths,
The Dirtbombs,
Gabor Szabo,
The Toasters,
The Seeds,
Graham Central Station,
Connie Case,
Delta 5,
The United States of America,
Lou Reed,
Zero Boys,
The Royal Family And The Poor,
Iggy Pop,
The Music Machine,
Public Image Ltd.,
Qualms, Qualms, Qualms, Qualms.
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.