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 Lyon.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Seoul and Lille.
I'm losing my edge to the art-school Manila 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 spring reverb 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 Ituana to the crunk 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 Rhythim Is Rhythim. All the underground hits.
All The Music Machine tracks. I heard you have a vinyl of every Drexciya 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 '70s cut and another box set from the '80s.
I hear you're buying a güiro and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a the Slits record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
L. Decosne,
Marmalade,
The Shadows of Knight,
DJ Style,
Brick,
Rhythm & Sound,
New Order,
Gong,
The Walker Brothers,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Bang on a Can All-Stars,
Radiohead,
Brand Nubian,
Judy Mowatt,
Gerry Rafferty,
Cecil Taylor,
Alison Limerick,
Terrestrial Tones,
Al Stewart,
Subhumans,
The Slits,
Iggy Pop,
Bobby Sherman,
The Chocolate Watch Band,
A Certain Ratio,
Frankie Knuckles,
The Fire Engines,
Sandy B,
Drive Like Jehu,
Matthew Bourne,
Eric Dolphy,
Radiopuhelimet,
Fat Boys,
U.S. Maple,
Peter & Gordon,
Basic Channel,
Soft Cell,
Organ,
Nas,
Livin' Joy,
Amon Düül,
Brothers Johnson,
Cabaret Voltaire,
Janne Schatter,
Amazonics,
Heaven 17,
The Pop Group,
The Offenders,
Dave Gahan,
Joy Division,
Glambeats Corp.,
Gichy Dan,
The Star Department,
Mad Mike,
Soul II Soul,
The Velvet Underground,
The Move,
The Dead C,
Mr. Review,
Joyce Sims,
The Red Krayola,
Shuggie Otis,
Nico, Nico, Nico, Nico.
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.