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 Kosovo and from Houston.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Portland and Woodstock.
I'm losing my edge to the art-school Toronto 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 theremin 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 The Gladiators to the techno kids.
I played it at CBGB's.
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 Manfred Mann's Earth Band. All the underground hits.
All Cluster tracks. I heard you have a vinyl of every 8 Eyed Spy 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 rhodes and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Stockholm Monsters record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Agitation Free,
Louis and Bebe Barron,
Average White Band,
Ohio Players,
Johnny Osbourne,
T.S.O.L.,
Circle Jerks,
Flamin' Groovies,
Marcia Griffiths,
Suburban Knight,
Q65,
MDC,
Subhumans,
Lower 48,
Sly & The Family Stone,
The Move,
Harry Pussy,
Henry Cow,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Misunderstood,
Liaisons Dangereuses,
Soft Machine,
Magazine,
Deakin,
Jerry's Kids,
Pussy Galore,
Rapeman,
The Vogues,
The Residents,
Kango’s Stein Massive,
Porter Ricks,
Brand Nubian,
The Flesh Eaters,
The Leaves,
Public Image Ltd.,
The Alarm Clocks,
The Real Kids,
Hashim,
John Coltrane,
Reuben Wilson,
The Monochrome Set,
China Crisis,
F. McDonald,
The United States of America,
Idris Muhammad,
Ultramagnetic MC's,
ABC,
X-101,
Y Pants,
Roger Hodgson,
Sad Lovers and Giants,
Glambeats Corp.,
Eric Copeland,
Andrew Ashong & Theo Parrish,
The Fall,
Interpol,
New Age Steppers,
Radiopuhelimet,
Boz Scaggs,
Todd Rundgren,
Swell Maps,
Delon & Dalcan, Delon & Dalcan, Delon & Dalcan, Delon & Dalcan.
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.