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 Delhi.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1978.
I'm losing my edge.
To all the kids in New York and Lyon.
I'm losing my edge to the art-school Mexico City 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 synthesizer 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 Jawbox to the disco kids.
I played it at the Troubador.
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 Andrew Ashong & Theo Parrish. All the underground hits.
All Wire tracks. I heard you have a vinyl of every Gichy Dan record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a spring reverb and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Con Funk Shun record.
I hear that you and your band have sold your mellotron and bought a snare.
I hear that you and your band have sold your snare and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lucky Dragons,
Lyres,
Oneida,
John Coltrane,
Crispy Ambulance,
Au Pairs,
Jerry's Kids,
Public Image Ltd.,
Pulsallama,
Bobby Womack,
Soft Machine,
Eddi Front,
Stockholm Monsters,
Brothers Johnson,
Slave,
Eli Mardock,
Grandmaster Flash,
H. Thieme,
Eyeless In Gaza,
Magazine,
Connie Case,
Nik Kershaw,
Mo-Dettes,
The Motions,
Shoche,
Unwound,
Dark Day,
CMW,
Interpol,
Frankie Knuckles,
Reuben Wilson,
Fat Boys,
D'Angelo,
The Blackbyrds,
DeepChord presents Echospace,
Idris Muhammad,
Circle Jerks,
Gong,
Super Lover Cee & Casanova Rud,
The Vogues,
Deepchord,
Red Lorry Yellow Lorry,
Scratch Acid,
Visage,
Saccharine Trust,
Deadbeat,
Eric B and Rakim,
Quantec,
Amon Düül,
Don Cherry,
Flipper,
The Moody Blues,
ABC,
Glambeats Corp.,
The Gun Club,
Terrestrial Tones,
Ten City,
Jawbox,
Duran Duran,
Oppenheimer Analysis,
Wally Richardson,
Crispian St. Peters, Crispian St. Peters, Crispian St. Peters, Crispian St. Peters.
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.