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 France and from Spokane.
But I was there.
I was there in 1967.
I was there at the first Rodriguez 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 1967 to 1976.
I'm losing my edge.
To all the kids in Delhi and Woodstock.
I'm losing my edge to the art-school Shanghai 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the mellotron 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 Q65 to the punk kids.
I played it at the Crocodile.
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 Ituana. All the underground hits.
All EPMD tracks. I heard you have a vinyl of every Sunsets and Hearts 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 '50s cut and another box set from the '70s.
I hear you're buying a harpsichord and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Desert Stars record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Andrew Ashong & Theo Parrish,
China Crisis,
Rakim,
Lonnie Liston Smith,
Dennis Brown,
Jerry's Kids,
June Days,
Fat Boys,
Ossler,
Niagra,
The Buckinghams,
Carl Craig,
Wally Richardson,
Boredoms,
Gian Franco Pienzio,
The Detroit Cobras,
La Düsseldorf,
cv313,
Index,
Ralphi Rosario,
The Slackers,
Minor Threat,
Malaria!,
Derrick May,
the Soft Cell,
Lower 48,
Wire,
Whodini,
Japan,
Janne Schatter,
The Knickerbockers,
Josef K,
Yellowson,
The Dirtbombs,
Avey Tare's Slasher Flicks,
The Remains,
The J.B.'s,
Gil Scott Heron,
Sly & The Family Stone,
The Stooges,
Theoretical Girls,
Echospace,
The Barracudas,
Bush Tetras,
The Slits,
Yusef Lateef,
Sight & Sound,
Rosa Yemen,
A Certain Ratio,
Jacob Miller,
Adolescents,
Cheater Slicks,
Laurel Aitken,
The Red Krayola,
Rowland S Howard / Lydia Lunch,
Radio Birdman,
Duran Duran,
Barclay James Harvest,
Amon Düül II,
Soul II Soul, Soul II Soul, Soul II Soul, Soul II Soul.
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.