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 Tuvalu and from London.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1972.
I'm losing my edge.
To all the kids in Cairo and Taipei.
I'm losing my edge to the art-school Edmonton 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 sitar sounds with much patience.
I was there when Donald Fagen 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 Crispy Ambulance to the jazz kids.
I played it at Trash.
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 Mandrill. All the underground hits.
All Circle Jerks tracks. I heard you have a vinyl of every Icehouse 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 '60s cut and another box set from the '70s.
I hear you're buying a sitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Brick record.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mandrill,
Chrome,
Sly & The Family Stone,
Aloha Tigers,
Sugar Minott,
The Fall,
Rhythim Is Rhythim,
Bad Manners,
Stiv Bators,
Kaleidoscope,
The Men They Couldn't Hang,
The Standells,
Technova,
Wally Richardson,
China Crisis,
Vladislav Delay,
Liliput,
Camberwell Now,
New York Dolls,
Unwound,
Funky Four + One,
The Alarm Clocks,
Soul Sonic Force,
Monolake,
Soulsonic Force,
Japan,
Swans,
Au Pairs,
DJ Style,
Ice-T,
Tom Boy,
The Mojo Men,
Siouxsie and the Banshees,
The Techniques,
Barrington Levy,
The Offenders,
Magazine,
Peter & Gordon,
Camron Feat. Memphis Bleek And Beenie Seigel,
Country Teasers,
John Holt,
48th St. Collective,
Inner City,
Dual Sessions,
JFA,
Sixth Finger,
Scrapy,
UT,
John Lydon,
Agitation Free,
Lungfish,
Scion,
Angry Samoans,
Erasure,
Pole,
Deakin,
Lalo Schifrin,
Captain Beefheart & His Magic Band,
Man Eating Sloth,
Siglo XX,
Agent Orange,
Bang On A Can,
Maleditus Sound,
The Pop Group, The Pop Group, The Pop Group, The Pop Group.
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.