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 Solomon Islands and from Columbus.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 Paris and Edmonton.
I'm losing my edge to the art-school Accra 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 spring reverb sounds with much patience.
I was there when Lou Reed 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 Super Lover Cee & Casanova Rud to the techno 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 Electric Prunes. All the underground hits.
All Easy Going tracks. I heard you have a vinyl of every Country Joe & The Fish 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 '60s cut and another box set from the '90s.
I hear you're buying a spring reverb and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a EPMD record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
It's A Beautiful Day,
PIL,
Brick,
ABBA,
Sixth Finger,
Yazoo,
Loose Ends,
Wire,
MDC,
Brand Nubian,
James Chance & The Contortions,
The Neon Judgement,
Marshall Jefferson,
Nirvana,
Arcadia,
Bizarre Inc.,
The Techniques,
The Selecter,
Lyres,
Pete Rock & C.L. Smooth,
The Slackers,
Audionom,
Michelle Simonal,
The Last Poets,
Graham Central Station,
Pussy Galore,
The Durutti Column,
CMW,
R.M.O.,
Sun Ra Arkestra,
Maurizio,
John Foxx,
Black Bananas,
Mars,
Boz Scaggs,
Thinking Fellers Union Local 282,
Wings,
The Men They Couldn't Hang,
Country Teasers,
Beasts of Bourbon,
Siglo XX,
cv313,
Agitation Free,
Deepchord,
Bill Near,
Marvin Gaye,
Accadde A,
The West Coast Pop Art Experimental Band,
Moebius,
Mark Hollis,
Alison Limerick,
Kango’s Stein Massive,
The United States of America,
Chris & Cosey,
Charles Mingus,
Tim Buckley,
Niagra,
The Index,
Rod Modell,
Grey Daturas,
Bobby Sherman,
The Trojans,
Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis.
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.