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 Monaco and from Shanghai.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Manchester and Mexico City.
I'm losing my edge to the art-school Stockholm 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 Michael McDonald 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 Gian Franco Pienzio to the grunge 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 Half Japanese. All the underground hits.
All Liliput tracks. I heard you have a vinyl of every Dawn Penn record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a rhodes and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Gabor Szabo record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Seeds,
Gichy Dan,
JFA,
Spandau Ballet,
Vaughan Mason & Crew,
James Chance & The Contortions,
Mars,
Vladislav Delay,
Dual Sessions,
Dawn Penn,
The American Breed,
UT,
Boogie Down Productions,
Siglo XX,
Ornette Coleman,
Eric B and Rakim,
Reagan Youth,
Curtis Mayfield,
Bush Tetras,
Drexciya,
Byron Stingily,
Suicide,
The Techniques,
Minor Threat,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Echospace,
Terry Callier,
Flash Fearless,
Juan Atkins,
L. Decosne,
John Foxx,
Arthur Verocai,
Skriet,
Unwound,
Davy DMX,
The Music Machine,
Hardrive,
Lou Reed & Metallica,
John Lydon,
Deadbeat,
Jesper Dahlbäck,
Louis and Bebe Barron,
Alphaville,
Barbara Tucker,
David Bowie,
Sugar Minott,
Bluetip,
Nirvana,
Spoonie Gee,
Kauko Röyhkä ja Narttu,
The Blues Magoos,
Jawbox,
Joyce Sims,
PIL,
Stockholm Monsters,
Lucky Dragons,
Young Marble Giants,
Orchestral Manoeuvres in the Dark,
D'Angelo,
The Modern Lovers,
Black Sheep,
Shuggie Otis,
ABBA, ABBA, ABBA, ABBA.
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.