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 United States and from Winnipeg.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 Tokyo and Copenhagen.
I'm losing my edge to the art-school Philadelphia 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 theremin 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 Terrestrial Tones to the dance 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 Eric B and Rakim. All the underground hits.
All Sex Pistols tracks. I heard you have a vinyl of every The Seeds 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 '80s cut and another box set from the '90s.
I hear you're buying a mellotron and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Alice Coltrane record.
I hear that you and your band have sold your spring reverb and bought a linndrum.
I hear that you and your band have sold your linndrum 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?
Liaisons Dangereuses,
The Index,
Little Man,
Gang Green,
The Peanut Butter Conspiracy,
Lou Reed & Metallica,
Jesper Dahlback,
Lyres,
Bobby Byrd,
Swell Maps,
Kurtis Blow,
Marine Girls,
Reuben Wilson,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Five Americans,
Michelle Simonal,
Eddi Front,
Make Up,
Radio Birdman,
Simply Red,
Robert Görl,
Porter Ricks,
The Toasters,
L. Decosne,
Jacob Miller,
Pulsallama,
Chris & Cosey,
The Star Department,
The Gap Band,
Kerrie Biddell,
It's A Beautiful Day,
The Gun Club,
The Leaves,
Q65,
Icehouse,
Unwound,
Eric B and Rakim,
Livin' Joy,
Vaughan Mason & Crew,
Faraquet,
Davy DMX,
Jacques Brel,
Stiv Bators,
Technova,
Stockholm Monsters,
Richard Hell and the Voidoids,
John Holt,
Notorious BIG live in Amsterdam,
K-Klass,
Rapeman,
The Seeds,
John Cale,
The Fuzztones,
The Pop Group,
Agitation Free,
Avey Tare,
Cecil Taylor,
Delon & Dalcan,
Half Japanese,
Oneida,
Sixth Finger,
Jesper Dahlbäck,
Rowland S Howard / Lydia Lunch,
Soft Machine,
The Motions, The Motions, The Motions, The Motions.
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.