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 Dominican Republic and from Portland.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Calgary and Houston.
I'm losing my edge to the art-school Bologna 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 harpsichord 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 Magazine to the punk kids.
I played it at the Astoria.
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 Louis and Bebe Barron. All the underground hits.
All DJ Style tracks. I heard you have a vinyl of every Donald Byrd 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 '60s cut and another box set from the '80s.
I hear you're buying a clarinet and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Robert Hood record.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tropical Tobacco,
Nils Olav,
Vladislav Delay,
JFA,
Rhythm & Sound,
Scott Walker,
Ice-T,
Terrestrial Tones,
Monks,
Rhythim Is Rhythim,
Newcleus,
Camron Feat. Memphis Bleek And Beenie Seigel,
Lee Hazlewood,
Jimmy McGriff,
A Certain Ratio,
Angry Samoans,
Aloha Tigers,
The Associates,
Angels of Light & Akron/Family,
Kings Of Tomorrow,
ABC,
Dead Boys,
Saccharine Trust,
Justin Hinds & The Dominoes,
London Community Gospel Choir,
Arcadia,
The Index,
Ohio Players,
Amon Düül II,
kango's stein massive,
The Durutti Column,
Motorama,
Kayak,
Throbbing Gristle,
Jesper Dahlback,
Jeff Mills,
Barbara Tucker,
DeepChord presents Echospace,
Mark Hollis,
Black Moon,
Man Eating Sloth,
Swans,
Section 25,
The Slackers,
Robert Hood,
Jesper Dahlbäck,
Scott Walker + Sunn O))),
The Count Five,
Sex Pistols,
Talk Talk,
Camouflage,
Y Pants,
Lalo Schifrin,
CMW,
Average White Band,
Joey Negro,
Youth Brigade,
The West Coast Pop Art Experimental Band,
The Misunderstood,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Notorious BIG live in Amsterdam,
Crash Course in Science,
Au Pairs,
Jawbox, Jawbox, Jawbox, Jawbox.
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.