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 Cuba and from Edmonton.
But I was there.
I was there in .
I was there at the first Suicide 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 1963 to 1970.
I'm losing my edge.
To all the kids in Philadelphia and Cairo.
I'm losing my edge to the art-school Johannesburg 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 mellotron sounds with much patience.
I was there when Donald Fagen 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 Junior Murvin to the electroclash 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 R.M.O.. All the underground hits.
All Peter & Gordon tracks. I heard you have a vinyl of every Blake Baxter 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 '70s cut and another box set from the '90s.
I hear you're buying an oboe and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Warren Ellis record.
I hear that you and your band have sold your güiro and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kaleidoscope,
The Star Department,
Los Fastidios,
X-102,
The United States of America,
Gang of Four,
Skaos,
Spandau Ballet,
Visage,
cv313,
Louis and Bebe Barron,
Crispy Ambulance,
Kool Moe Dee,
The American Breed,
The Gap Band,
Eurythmics,
The Five Americans,
Terrestrial Tones,
Anthony Braxton,
Silicon Teens,
Teenage Jesus and the Jerks,
Electric Prunes,
Supertramp,
Heavy D & The Boyz,
The Searchers,
Oppenheimer Analysis,
The J.B.'s,
Radio Birdman,
Drive Like Jehu,
Eden Ahbez,
Radiopuhelimet,
Suicide,
Gregory Isaacs,
Pussy Galore,
The Gun Club,
Little Man,
Matthew Halsall,
Yellowson,
Archie Shepp,
The Modern Lovers,
The Techniques,
Spoonie Gee,
Shoche,
Amon Düül II,
Röyhkä ja Rättö ja Lehtisalo,
The Residents,
The Last Poets,
Ken Boothe,
Orchestral Manoeuvres in the Dark,
FM Einheit,
Au Pairs,
A Flock of Seagulls,
The Barracudas,
Connie Case,
Kerri Chandler,
Ultravox,
Warsaw,
Urselle,
Fad Gadget,
Nas, Nas, Nas, Nas.
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.