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 Bulgaria and from Madrid.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Copenhagen and Columbus.
I'm losing my edge to the art-school Lille 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 spring reverb 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 Selector Dub Narcotic to the punk 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 Mission of Burma. All the underground hits.
All Selector Dub Narcotic tracks. I heard you have a vinyl of every Brass Construction 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 '50s cut and another box set from the '70s.
I hear you're buying an organ and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Unrelated Segments 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?
Unrelated Segments,
Amon Düül II,
Mars,
Fluxion,
Fela Kuti,
MDC,
U.S. Maple,
Bootsy's Rubber Band,
Slave,
Rapeman,
Jerry Gold Smith,
Urselle,
Scan 7,
Eric B and Rakim,
The Dirtbombs,
The Tremeloes,
Surgeon,
Goldenarms,
the Bar-Kays,
Alison Limerick,
Scratch Acid,
Richard Hell and the Voidoids,
Robert Görl,
The Angels of Light,
Siglo XX,
The Blues Magoos,
Grandmaster Flash,
Tom Boy,
The Star Department,
Be Bop Deluxe,
Eli Mardock,
David McCallum,
Lou Christie,
Pet Shop Boys,
Heavy D & The Boyz,
Nick Fraelich,
The Alarm Clocks,
Moby Grape,
John Lydon,
Masters at Work,
Albert Ayler,
These Immortal Souls,
Jacques Brel,
Stiv Bators,
Wings,
Erasure,
Deutsch Amerikanische Freundschaft,
Moebius,
Outsiders,
Popol Vuh,
Icehouse,
The Mighty Diamonds,
Duran Duran,
Kango’s Stein Massive,
Fugazi,
The Moody Blues,
Schoolly D,
Banda Bassotti,
Funky Four + One,
Cymande,
Mary Jane Girls,
Arcadia,
Agitation Free, Agitation Free, Agitation Free, Agitation Free.
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.