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 Singapore and from Columbus.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Stockholm and Calgary.
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 arpeggiator sounds with much patience.
I was there when Robert Palmer 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 Lou Reed to the grunge kids.
I played it at the Troubador.
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 Cameo. All the underground hits.
All Warsaw tracks. I heard you have a vinyl of every Andrew Ashong & Theo Parrish record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a linndrum and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Remains record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Warren Ellis,
John Cale,
Gil Scott-Heron & Brian Jackson,
F. McDonald,
Scion,
The Monks,
Bobby Byrd,
Pere Ubu,
Marc Romboy vs. Booka Shade,
The Busters,
The Standells,
The Star Department,
Eddi Front,
Radiopuhelimet,
Jeff Lynne,
Colin Newman,
Shoche,
The Blues Magoos,
Animal Collective,
Bootsy's Rubber Band,
the Swans,
Suicide,
The Durutti Column,
Dorothy Ashby,
Al Stewart,
The Cramps,
James White and The Blacks,
Tears for Fears,
Pierre Henry,
Ronan,
The Walker Brothers,
Flipper,
Pylon,
Josef K,
The Music Machine,
Sex Pistols,
Sonny Sharrock,
Crooked Eye,
Be Bop Deluxe,
Boogie Down Productions,
Davy DMX,
Q65,
New Age Steppers,
Sticky Fingaz feat. Raekwon,
This Heat,
Donny Hathaway,
The Shadows of Knight,
Notorious Big And Bone Thugs,
Monks,
Groovy Waters,
Hasil Adkins,
The Velvet Underground,
Rapeman,
The Motions,
The Sound,
The Cowsills,
Peter Gordon & Love of Life Orchestra,
The Cosmic Jokers,
Chris & Cosey,
Panda Bear,
These Immortal Souls,
The Doobie Brothers,
Bauhaus, Bauhaus, Bauhaus, Bauhaus.
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.