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 Spain and from Lyon.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Paris and Delhi.
I'm losing my edge to the art-school Lagos 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the marimba 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 Richard Hell and the Voidoids to the electroclash kids.
I played it at the Spitz.
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 Moebius. All the underground hits.
All The Monks tracks. I heard you have a vinyl of every Davy DMX record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a rhodes and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Marc Romboy vs. Booka Shade record.
I hear that you and your band have sold your rhodes and bought a snare.
I hear that you and your band have sold your snare and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Music Machine,
Cameo,
The Jesus and Mary Chain,
Flash Fearless,
Avey Tare,
The Gladiators,
Hashim,
Juan Atkins,
Excepter,
Sarah Menescal,
Scan 7,
The Neon Judgement,
Mars,
Kaleidoscope,
Das Ding,
Crispian St. Peters,
The American Breed,
The Busters,
Tim Buckley,
Electric Prunes,
The J.B.'s,
Popol Vuh,
Eyeless In Gaza,
Traffic Nightmare,
The Sisters of Mercy,
Girls At Our Best!,
Selector Dub Narcotic,
Bush Tetras,
Sly & The Family Stone,
Grauzone,
Black Pus,
The Peanut Butter Conspiracy,
Soft Machine,
Matthew Bourne,
Bad Manners,
Siouxsie and the Banshees,
Oppenheimer Analysis,
Sight & Sound,
Robert Wyatt,
Interpol,
Terry Callier,
The Moody Blues,
John Cale,
Rakim,
The Divine Comedy,
Maleditus Sound,
Terrestrial Tones,
Oneida,
Average White Band,
The Gun Club,
In Retrospect,
Avey Tare & Kría Brekkan,
Cluster,
Toni Rubio,
Stetsasonic,
Youth Brigade,
The Slackers,
The Trojans,
Grandmaster Flash and the Furious Five,
Todd Rundgren,
Derrick Morgan,
Johnny Osbourne,
Tomorrow,
Hasil Adkins,
The Star Department, The Star Department, The Star Department, The Star Department.
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.