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 Trinidad & Tobago and from Copenhagen.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Stockholm and Madrid.
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 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 Albert Ayler to the grime kids.
I played it at Cafe Wha.
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 Red Lorry Yellow Lorry. All the underground hits.
All Visage tracks. I heard you have a vinyl of every Gerry Rafferty record on German import.
I heard that you have a white label of every seminal techno 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 theremin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Infiniti record.
I hear that you and your band have sold your guitar and bought an oboe.
I hear that you and your band have sold your oboe and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Von Mondo,
The Victims,
The Barracudas,
Freddie Wadling,
Saccharine Trust,
The Skatalites,
Neil Young & Crazy Horse,
Peter & Gordon,
Lalann,
Aural Exciters,
Kevin Saunderson,
Howard Jones,
Andrew Ashong & Theo Parrish,
Johnny Clarke,
Ultra Naté,
Pagans,
Sight & Sound,
The Index,
Icehouse,
Sad Lovers and Giants,
Jeff Lynne,
Shuggie Otis,
Index,
Sällskapet,
Fad Gadget,
Gichy Dan,
The Birthday Party,
Bang on a Can All-Stars,
The Shadows of Knight,
Mission of Burma,
Das Ding,
Jawbox,
Flipper,
Monks,
Massinfluence,
Quadrant,
Rapeman,
The Dead C,
New Age Steppers,
The Mojo Men,
Dr. Dre and Snoop Doggy Dog,
Donald Byrd,
Pierre Henry,
Anakelly,
Brothers Johnson,
One Last Wish,
Man Parrish,
John Foxx,
Thee Headcoats,
R.M.O.,
The Moody Blues,
Inner City,
John Coltrane,
The Mummies,
The United States of America,
Danielle Patucci,
Marmalade,
Lightning Bolt,
Pulsallama,
This Heat,
Urselle,
Masters at Work, Masters at Work, Masters at Work, Masters at Work.
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.