Infinitely Losing My Edge

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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 Bangladesh and from Copenhagen.
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 1969 to 1975.
I'm losing my edge.

To all the kids in Beijing and Seoul.
I'm losing my edge to the art-school Jakarta 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 sitar 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 Ajijia Myrayebe to the punk 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 Porter Ricks. All the underground hits.

All LL Cool J tracks. I heard you have a vinyl of every Fat Boys 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 '70s.

I hear you're buying a chamberlin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a John Cale record.

I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a synthesizer.

I hear everybody that you know is more relevant than everybody that I know.

But have you seen my records?

Minor Threat, Swell Maps, Marmalade, The Dave Clark Five, Los Fastidios, Second Layer, Thinking Fellers Union Local 282, Mission of Burma, Fela Kuti, Buzzcocks, Wire, Joe Finger, Lalann, Angels of Light & Akron/Family, Urselle, Piero Umiliani, Barrington Levy, The Motions, Byron Stingily, Country Teasers, U.S. Maple, A Certain Ratio, the Slits, Fifty Foot Hose, X-101, Organ, Fear, Monks, Danielle Patucci, Masters at Work, Camberwell Now, Fugazi, Godley & Creme, Althea and Donna, The Skatalites, Cabaret Voltaire, Archie Shepp, The Divine Comedy, Shoche, Can, Gastr Del Sol, The Cramps, Jesper Dahlback, Kings Of Tomorrow, Röyhkä ja Rättö ja Lehtisalo, Yaz, Radio Birdman, Tom Boy, Outsiders, Laurel Aitken, Mr. Review, The Dirtbombs, Y Pants, Lee Hazlewood, The Martian, Lou Reed, Heaven 17, The Leaves, Gregory Isaacs, Sight & Sound, Theoretical Girls, Country Joe & The Fish, Country Joe & The Fish, Country Joe & The Fish, Country Joe & The Fish.

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.

A hack by Matthew Ogle who is very sorry to James Murphy and basically everyone (cheers to Darius and this for the late-night inspiration)