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 Denmark and from Sao Paulo.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1964 to 1976.
I'm losing my edge.
To all the kids in Stockholm and Accra.
I'm losing my edge to the art-school Houston 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 Michael McDonald 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 Larry & the Blue Notes to the dance kids.
I played it at CBGB's.
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 Bad Manners. All the underground hits.
All Scientists tracks. I heard you have a vinyl of every Crooked Eye record on German import.
I heard that you have a white label of every seminal electroclash 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 snare and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Boredoms record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oppenheimer Analysis,
Glenn Branca,
Faraquet,
Gerry Rafferty,
These Immortal Souls,
MDC,
Dawn Penn,
Black Sheep,
Cal Tjader,
Kayak,
Yaz,
Strawberry Alarm Clock,
LL Cool J,
Roy Ayers Ubiquity,
Oneida,
Ludus,
Kango’s Stein Massive,
Ralphi Rosario,
Magazine,
Kenny Larkin,
John Holt,
James White and The Blacks,
Max Romeo,
Yusef Lateef,
Bobbi Humphrey,
Boredoms,
Average White Band,
The Mojo Men,
Anthony Braxton,
Absolute Body Control,
Matthew Bourne,
Rowland S Howard / Lydia Lunch,
Gil Scott Heron,
Jeff Mills,
Gang Gang Dance,
Cameo,
Andrew Ashong & Theo Parrish,
Vladislav Delay,
In Retrospect,
The Alarm Clocks,
The Mighty Diamonds,
The Smoke,
Schoolly D,
David Axelrod,
Jerry's Kids,
Country Teasers,
the Human League,
La Düsseldorf,
Infiniti,
Stetsasonic,
Fear,
Animal Collective,
Excepter,
Mr. Review,
Alphaville,
Man Eating Sloth,
Sight & Sound,
Gabor Szabo,
Major Organ And The Adding Machine,
Cheater Slicks,
Traffic Nightmare, Traffic Nightmare, Traffic Nightmare, Traffic Nightmare.
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.