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 New Zealand and from Edmonton.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1979.
I'm losing my edge.
To all the kids in Manchester and Bremen.
I'm losing my edge to the art-school Calgary 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 chamberlin 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 Saccharine Trust to the rock 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 Donny Hathaway. All the underground hits.
All Avey Tare's Slasher Flicks tracks. I heard you have a vinyl of every Ronnie Foster 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 '60s cut and another box set from the '90s.
I hear you're buying a linndrum and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Hasil Adkins record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Susan Cadogan,
Bootsy Collins,
Avey Tare,
The Vogues,
A Certain Ratio,
The Misunderstood,
Essential Logic,
Joyce Sims,
Brass Construction,
Suburban Knight,
F. McDonald,
Jandek,
Guru Guru,
Tres Demented,
Red Lorry Yellow Lorry,
Derrick May,
Excepter,
Gian Franco Pienzio,
The Star Department,
Pete Rock & C.L. Smooth,
Boogie Down Productions,
Spoonie Gee,
The Chocolate Watch Band,
Soulsonic Force,
Motorama,
Tears for Fears,
The Techniques,
The Shadows of Knight,
Royal Trux,
Radio Birdman,
Juan Atkins,
The Move,
Siouxsie and the Banshees,
Gregory Isaacs,
The Music Machine,
Newcleus,
Echospace,
The Grass Roots,
Bad Manners,
Lindisfarne,
Flamin' Groovies,
Basic Channel,
Andrew Ashong & Theo Parrish,
Yazoo,
Brand Nubian,
Stereo Dub,
Gang Starr,
The Detroit Cobras,
Bronski Beat,
Piero Umiliani,
Loose Ends,
The Monks,
Drive Like Jehu,
Fifty Foot Hose,
Moebius,
The Blues Magoos,
Alton Ellis,
Robert Hood,
Idris Muhammad,
X-Ray Spex,
Arthur Verocai,
The Neon Judgement, The Neon Judgement, The Neon Judgement, The Neon Judgement.
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.