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 Bosnia Herzegovina and from Tokyo.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Portland and Toronto.
I'm losing my edge to the art-school Seoul 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 guitar 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 Kurtis Blow to the funk kids.
I played it at the 40 Watt.
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 Crash Course in Science. All the underground hits.
All Sound Behaviour tracks. I heard you have a vinyl of every The Doors record on German import.
I heard that you have a white label of every seminal jazz 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 snare and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Cymande record.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Dead C,
Young Marble Giants,
The Searchers,
Pete Rock & C.L. Smooth,
Model 500,
Essential Logic,
Kings Of Tomorrow,
June Days,
UT,
Juan Atkins,
The Human League,
Byron Stingily,
Joey Negro,
John Coltrane,
Stereo Dub,
Wings,
Lyres,
Cluster,
Andrew Hill,
DNA,
Swans,
Radiopuhelimet,
The Cosmic Jokers,
Michelle Simonal,
Rhythm & Sound,
Stiv Bators,
Throbbing Gristle,
Skaos,
Marine Girls,
Lakeside,
Absolute Body Control,
The Detroit Cobras,
Magazine,
Con Funk Shun,
Desert Stars,
Fat Boys,
The Gladiators,
Girls At Our Best!,
Half Japanese,
Marvin Gaye,
Pagans,
Yaz,
Symarip,
Alphaville,
The Move,
Minutemen,
Jeru the Damaja,
PIL,
The Mojo Men,
Zapp,
Barbara Tucker,
David Axelrod,
The Modern Lovers,
Al Stewart,
Joe Smooth,
Davy DMX,
R.M.O.,
Amon Düül,
Cameo,
Louis and Bebe Barron,
AZ,
The Fire Engines,
The Remains, The Remains, The Remains, The Remains.
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.