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 Peru and from Salvador.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1979.
I'm losing my edge.
To all the kids in Houston and Portland.
I'm losing my edge to the art-school Winnipeg 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 808 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 Iggy Pop to the dance kids.
I played it at the Spitz.
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 Joyce Sims. All the underground hits.
All B.T. Express tracks. I heard you have a vinyl of every Dead Boys record on German import.
I heard that you have a white label of every seminal dance 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 snare and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Icehouse record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Idris Muhammad,
One Last Wish,
Lakeside,
Al Stewart,
Swans,
Circle Jerks,
Johnny Osbourne,
Barbara Tucker,
Pierre Henry,
Monks,
Fad Gadget,
Gichy Dan,
Spoonie Gee,
Juan Atkins,
Supertramp,
The Divine Comedy,
Ronan,
Nas,
The Evens,
Lightning Bolt,
Max Romeo,
Gregory Isaacs,
Technova,
Pete Rock & C.L. Smooth,
Camron Feat. Memphis Bleek And Beenie Seigel,
Dual Sessions,
Art Ensemble Of Chicago,
Judy Mowatt,
Goldenarms,
Mr. Review,
Beasts of Bourbon,
Fluxion,
KRS-One,
Shoche,
David Axelrod,
Brothers Johnson,
Nation of Ulysses,
New York Dolls,
Marc Almond,
Mantronix,
This Heat,
The Walker Brothers,
Arthur Verocai,
Bobby Womack,
Chris Corsano,
Shuggie Otis,
Stereo Dub,
Grandmaster Flash and the Furious Five,
MDC,
Pantytec,
Bobby Byrd,
Lucky Dragons,
The Jesus and Mary Chain,
Gabor Szabo,
DJ Sneak,
Thinking Fellers Union Local 282,
Rites of Spring,
Notorious Big And Bone Thugs,
Jeff Lynne,
These Immortal Souls,
Sad Lovers and Giants,
Larry & the Blue Notes,
The Saints,
Crooked Eye, Crooked Eye, Crooked Eye, Crooked Eye.
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.