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 Lithuania and from Bremen.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Spokane and New York.
I'm losing my edge to the art-school Portland 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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the rhodes sounds with much patience.
I was there when Lou Reed 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 Q and Not U 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 Scion. All the underground hits.
All Sad Lovers and Giants tracks. I heard you have a vinyl of every Visage record on German import.
I heard that you have a white label of every seminal punk 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 snare and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Rhythm & Sound record.
I hear that you and your band have sold your oboe and bought a sitar.
I hear that you and your band have sold your sitar and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jesper Dahlbäck,
The Wake,
Von Mondo,
A Certain Ratio,
Sexual Harrassment,
Moss Icon,
Jacob Miller,
Rekid,
Terry Callier,
Lindisfarne,
the Swans,
A Flock of Seagulls,
Country Joe & The Fish,
Ohio Players,
Anakelly,
Rites of Spring,
The Move,
Man Parrish,
Gang Starr,
Bobby Sherman,
Cecil Taylor,
H. Thieme,
Avey Tare's Slasher Flicks,
Louis and Bebe Barron,
The Cowsills,
Flipper,
John Coltrane,
Quantec,
Gian Franco Pienzio,
Rakim,
Bobbi Humphrey,
The Martian,
Scott Walker,
Nico,
Scion,
OOIOO,
Captain Beefheart & His Magic Band,
Gabor Szabo,
Flash Fearless,
Crispy Ambulance,
Scrapy,
Boogie Down Productions,
The Chocolate Watch Band,
Public Enemy,
Red Lorry Yellow Lorry,
Arthur Verocai,
Organ,
Gil Scott-Heron & Brian Jackson,
The Alarm Clocks,
Be Bop Deluxe,
Fatback Band,
Juan Atkins,
Adolescents,
Electric Prunes,
Section 25,
Black Flag,
Vaughan Mason & Crew,
June Days,
Tears for Fears,
Barbara Tucker,
Amon Düül II, Amon Düül II, Amon Düül II, Amon Düül II.
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.