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 Tunisia and from Paris.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1971.
I'm losing my edge.
To all the kids in Sao Paulo and Tehran.
I'm losing my edge to the art-school Toronto 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 harpsichord sounds with much patience.
I was there when Holger Czukay 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 Fatback Band to the funk kids.
I played it at the Crocodile.
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 Los Fastidios. All the underground hits.
All Banda Bassotti tracks. I heard you have a vinyl of every Monks record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a synthesizer and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a June Days record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Peter & Gordon,
Interpol,
Kango’s Stein Massive,
Dennis Brown,
Audionom,
The Buckinghams,
The United States of America,
F. McDonald,
Yazoo,
Eli Mardock,
Super Lover Cee & Casanova Rud,
Schoolly D,
The New Christs,
UT,
Electric Light Orchestra,
The Men They Couldn't Hang,
The Raincoats,
Rufus Thomas,
Soft Cell,
James Chance & The Contortions,
Mars,
Red Lorry Yellow Lorry,
Q65,
La Düsseldorf,
the Swans,
Eddi Front,
Whodini,
Flamin' Groovies,
Tomorrow,
The Gun Club,
The Dave Clark Five,
R.M.O.,
Electric Prunes,
The Music Machine,
Dead Boys,
the Soft Cell,
The Beau Brummels,
Ludus,
Terrestrial Tones,
Symarip,
Technova,
Joey Negro,
The Vogues,
U.S. Maple,
Joyce Sims,
The Cosmic Jokers,
Marcia Griffiths,
The Evens,
Bobby Byrd,
X-Ray Spex,
Pulsallama,
Sun Ra,
Colin Newman,
Animal Collective,
The Angels of Light,
Duran Duran,
Parry Music,
Godley & Creme,
Erykah Badu,
CMW,
Gang Green,
The Shadows of Knight,
A Certain Ratio, A Certain Ratio, A Certain Ratio, A Certain Ratio.
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.