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 Rwanda and from Manila.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1973.
I'm losing my edge.
To all the kids in Lyon and Bremen.
I'm losing my edge to the art-school Sao Paulo 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 808 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 Dr. Dre and Snoop Doggy Dog 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 Cluster. All the underground hits.
All The Names tracks. I heard you have a vinyl of every Terry Callier record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying an oboe and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a the Association record.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Byron Stingily,
Nas,
The Fugs,
Ronan,
Gang Green,
Kauko Röyhkä ja Narttu,
Supertramp,
Lyres,
Oneida,
This Heat,
Terry Callier,
ABBA,
The Blues Magoos,
Section 25,
Scott Walker,
The Searchers,
A Certain Ratio,
The Mighty Diamonds,
Sexual Harrassment,
Oblivians,
Vladislav Delay,
Mr. Review,
Captain Beefheart & His Magic Band,
Alton Ellis,
Electric Light Orchestra,
Avey Tare's Slasher Flicks,
U.S. Maple,
Ohio Players,
Sun Ra,
Danielle Patucci,
The Gories,
Susan Cadogan,
Livin' Joy,
Man Eating Sloth,
Jawbox,
The Remains,
Boogie Down Productions,
48th St. Collective,
Adolescents,
Morten Harket,
Radio Birdman,
Fort Wilson Riot,
Terrestrial Tones,
Derrick May,
Selector Dub Narcotic,
Camron Feat. Memphis Bleek And Beenie Seigel,
Glambeats Corp.,
The Shadows of Knight,
The Pop Group,
Avey Tare & Kría Brekkan,
The Grass Roots,
Laurel Aitken,
Brand Nubian,
The Jesus and Mary Chain,
Nik Kershaw,
Electric Prunes,
Matthew Bourne,
Tres Demented,
Eric Copeland,
The Trojans,
The Durutti Column,
Rotary Connection, Rotary Connection, Rotary Connection, Rotary Connection.
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.