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 Costa Rica and from Paris.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Bremen and Lyon.
I'm losing my edge to the art-school Sao Paulo 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 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 Piero Umiliani to the grime kids.
I played it at the Roxy.
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 Bush Tetras. All the underground hits.
All A Flock of Seagulls tracks. I heard you have a vinyl of every Radiohead 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 '90s.
I hear you're buying a linndrum and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Lucky Dragons record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James White and The Blacks,
Toni Rubio,
The Saints,
Lafayette Afro Rock Band,
Teenage Jesus and the Jerks,
Silicon Teens,
Unwound,
The Slits,
These Immortal Souls,
Magazine,
The Pop Group,
Japan,
The Trojans,
Pere Ubu,
Altered Images,
the Slits,
Radiopuhelimet,
Gang of Four,
Soulsonic Force,
Wighnomy Brothers & Robag Wruhme,
The Invisible,
New York Dolls,
Gregory Isaacs,
Agitation Free,
the Human League,
Adolescents,
Siglo XX,
Icehouse,
Bobbi Humphrey,
Letta Mbulu,
Tears for Fears,
The Fire Engines,
Soft Machine,
Barry Ungar,
The Star Department,
Rites of Spring,
Khruangbin,
Rowland S Howard / Lydia Lunch,
Pharoah Sanders,
Gian Franco Pienzio,
Slave,
Zapp,
Be Bop Deluxe,
Zero Boys,
B.T. Express,
Robert Görl,
Public Image Ltd.,
DNA,
A Flock of Seagulls,
Nas,
Grey Daturas,
The Wake,
Country Joe & The Fish,
June of 44,
Mission of Burma,
the Germs,
Smog,
Roxette,
Beasts of Bourbon,
Ralphi Rosario,
The Leaves,
Pierre Henry,
Nation of Ulysses, Nation of Ulysses, Nation of Ulysses, Nation of Ulysses.
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.