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 Italy and from Delhi.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Johannesburg and Calgary.
I'm losing my edge to the art-school Houston 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 rhodes 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 Ituana to the techno 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 Jacques Brel. All the underground hits.
All The Fortunes tracks. I heard you have a vinyl of every Gichy Dan record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a guitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Knickerbockers record.
I hear that you and your band have sold your theremin and bought a sitar.
I hear that you and your band have sold your sitar and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mark Hollis,
Rotary Connection,
Curtis Mayfield,
Boredoms,
Grandmaster Flash and the Furious Five,
Red Lorry Yellow Lorry,
The Durutti Column,
Bauhaus,
Rites of Spring,
Anthony Braxton,
Sixth Finger,
Scott Walker,
Average White Band,
Judy Mowatt,
Audionom,
The Mojo Men,
The Gories,
Jeff Mills,
Boogie Down Productions,
Ralphi Rosario,
Outsiders,
Dark Day,
Y Pants,
Gian Franco Pienzio,
Mr. Review,
Minutemen,
The Victims,
The Searchers,
Sound Behaviour,
Severed Heads,
The Blues Magoos,
Joe Finger,
Eurythmics,
Rekid,
Gil Scott-Heron and Jamie xx,
Erasure,
Ohio Players,
Grey Daturas,
June of 44,
Rapeman,
Strawberry Alarm Clock,
Bad Manners,
Royal Trux,
Lalann,
Terry Callier,
Gang Gang Dance,
Gil Scott-Heron & Brian Jackson,
The Angels of Light,
Masters at Work,
The Sonics,
Faust,
Rhythm & Sound,
Make Up,
Robert Görl,
The West Coast Pop Art Experimental Band,
Little Man,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Pole,
a-ha,
D'Angelo,
Stockholm Monsters,
Siouxsie and the Banshees, Siouxsie and the Banshees, Siouxsie and the Banshees, Siouxsie and the Banshees.
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.