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 Iraq and from Philadelphia.
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 1961 to 1978.
I'm losing my edge.
To all the kids in Mumbai and Stockholm.
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 clarinet sounds with much patience.
I was there when Donald Fagen 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 The Mummies to the techno 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 Richard Hell and the Voidoids. All the underground hits.
All Pagans tracks. I heard you have a vinyl of every The Techniques record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying an organ and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a John Holt record.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crispy Ambulance,
Bush Tetras,
X-Ray Spex,
Pantaleimon,
Masters at Work,
Kool G Rap & DJ Polo,
Liliput,
These Immortal Souls,
Pussy Galore,
Pylon,
The Stooges,
Newcleus,
kango's stein massive,
Grey Daturas,
Marc Almond,
Livin' Joy,
Joey Negro,
Be Bop Deluxe,
Siglo XX,
Thee Headcoats,
David McCallum,
Glenn Branca,
Isaac Hayes,
A Flock of Seagulls,
Mark Hollis,
Nick Cave & The Bad Seeds,
Youth Brigade,
Camouflage,
Los Fastidios,
Boogie Down Productions,
Andrew Ashong & Theo Parrish,
Bronski Beat,
Avey Tare,
Young Marble Giants,
Robert Wyatt,
Pulsallama,
Rhythm & Sound,
The Mummies,
Spoonie Gee,
China Crisis,
Underground Resistance,
Sun Ra Arkestra,
Scion,
Bizarre Inc.,
The Detroit Cobras,
Roy Ayers,
Shuggie Otis,
Alice Coltrane,
Junior Murvin,
June of 44,
Bobby Sherman,
Smog,
The Pretty Things,
Model 500,
Section 25,
Marshall Jefferson,
Beasts of Bourbon,
Howard Jones,
The Gun Club,
Ultramagnetic MC's,
DeepChord presents Echospace, DeepChord presents Echospace, DeepChord presents Echospace, DeepChord presents Echospace.
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.