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 Taiwan and from Columbus.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Sao Paulo and Bologna.
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 güiro sounds with much patience.
I was there when Tom Verlaine 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 L. Decosne to the electroclash kids.
I played it at the 40 Watt.
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 New Age Steppers. All the underground hits.
All Radiohead tracks. I heard you have a vinyl of every Freddie Wadling record on German import.
I heard that you have a white label of every seminal crunk 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 synthesizer and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Ten City record.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Star Department,
DNA,
Orchestral Manoeuvres in the Dark,
Roxette,
Accadde A,
Black Pus,
Connie Case,
Mad Mike,
The Tremeloes,
Dave Gahan,
Amon Düül II,
Flash Fearless,
Neu!,
Alice Coltrane,
Cabaret Voltaire,
Mandrill,
Niagra,
Siglo XX,
Erykah Badu,
Pantytec,
Mo-Dettes,
Lou Christie,
June Days,
The Fortunes,
Lightning Bolt,
Monolake,
Glenn Branca,
48th St. Collective,
Ice-T,
Surgeon,
Sonny Sharrock,
Tres Demented,
Slave,
Arab on Radar,
The Names,
Marmalade,
Lou Reed,
Arcadia,
Bronski Beat,
The Sound,
La Düsseldorf,
Gil Scott-Heron & Brian Jackson,
Faraquet,
The Evens,
Stereo Dub,
Country Joe & The Fish,
Brass Construction,
Basic Channel,
Andrew Ashong & Theo Parrish,
Sugar Minott,
Gary Puckett & The Union Gap,
The Smoke,
Symarip,
DeepChord presents Echospace,
LL Cool J,
Kas Product,
The Fugs,
Quantec,
Parry Music, Parry Music, Parry Music, Parry Music.
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.