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 Vietnam and from Glasgow.
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 1964 to 1973.
I'm losing my edge.
To all the kids in London and Shanghai.
I'm losing my edge to the art-school Salvador 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 at the first Suicide practice in a loft in New York.
I was working on the arpeggiator 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 John Lydon to the grunge kids.
I played it at the Astoria.
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 Little Man. All the underground hits.
All Radio Birdman tracks. I heard you have a vinyl of every Orchestral Manoeuvres in the Dark 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 '60s cut and another box set from the '70s.
I hear you're buying a chamberlin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Animal Collective record.
I hear that you and your band have sold your mellotron and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Andrew Hill,
Agent Orange,
Gil Scott Heron,
Rotary Connection,
Marc Almond,
Brick,
The Slackers,
Deepchord,
Art Ensemble Of Chicago,
Carl Craig,
the Normal,
Reuben Wilson,
Pole,
X-Ray Spex,
Dual Sessions,
Maleditus Sound,
Gabor Szabo,
Simply Red,
Kauko Röyhkä ja Narttu,
Bobby Sherman,
Kool G Rap & DJ Polo,
The Victims,
Technova,
Anakelly,
The Star Department,
Sonny Sharrock,
Captain Beefheart & His Magic Band,
Bizarre Inc.,
Gary Puckett & The Union Gap,
The Mojo Men,
X-101,
Ajijia Myrayebe,
Orchestral Manoeuvres in the Dark,
The West Coast Pop Art Experimental Band,
Tim Buckley,
Minutemen,
Tomorrow,
DeepChord presents Echospace,
Blossom Toes,
DNA,
The Angels of Light,
Bauhaus,
Funkadelic,
Iggy Pop,
The Count Five,
Black Flag,
Lalann,
Barrington Levy,
Jawbox,
Marc Romboy vs. Booka Shade,
Dead Boys,
Mr. Review,
Archie Shepp,
Strawberry Alarm Clock,
Avey Tare & Kría Brekkan,
Josef K,
Ohio Players,
Justin Hinds & The Dominoes,
the Swans,
Maurizio,
Gastr Del Sol,
The Standells,
Vladislav Delay, Vladislav Delay, Vladislav Delay, Vladislav Delay.
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.