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 Sierra Leone and from Mexico City.
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 1971.
I'm losing my edge.
To all the kids in Shanghai and Tokyo.
I'm losing my edge to the art-school London 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 oboe sounds with much patience.
I was there when Robert Palmer 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 Tom Boy to the grime 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 Freddie Wadling. All the underground hits.
All Joey Negro tracks. I heard you have a vinyl of every Faraquet record on German import.
I heard that you have a white label of every seminal rock 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 a 808 and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Popol Vuh record.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Sheep,
Whodini,
Art Ensemble Of Chicago,
Negative Approach,
Yellowson,
Leonard Cohen,
The United States of America,
The Peanut Butter Conspiracy,
Royal Trux,
The Vogues,
Tommy Roe,
Joe Finger,
Curtis Mayfield,
Bronski Beat,
Y Pants,
Mad Mike,
Maleditus Sound,
The Cramps,
The Fuzztones,
Dual Sessions,
JFA,
Shoche,
Liaisons Dangereuses,
Barbara Tucker,
Cybotron,
Henry Cow,
Boogie Down Productions,
Adolescents,
Sam Rivers,
Main Source,
Scott Walker,
Khruangbin,
Pere Ubu,
Scott Walker + Sunn O))),
Model 500,
K-Klass,
Röyhkä ja Rättö ja Lehtisalo,
Man Eating Sloth,
Flash Fearless,
AZ,
the Soft Cell,
Eyeless In Gaza,
Unrelated Segments,
Minor Threat,
the Germs,
Gastr Del Sol,
Sarah Menescal,
ABBA,
John Holt,
Soul II Soul,
U.S. Maple,
Lyres,
Wolf Eyes,
Section 25,
Silicon Teens,
Scientists,
Ten City,
Swans,
Ultramagnetic MC's,
Alice Coltrane,
Matthew Halsall,
Los Fastidios,
The Blues Magoos, The Blues Magoos, The Blues Magoos, The Blues Magoos.
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.