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 Chad and from Portland.
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 1962 to 1979.
I'm losing my edge.
To all the kids in Lyon and Winnipeg.
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 chamberlin 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 Aaron Thompson to the jazz 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 Thompson Twins. All the underground hits.
All Idris Muhammad tracks. I heard you have a vinyl of every Robert Görl 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 '90s.
I hear you're buying a harpsichord and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Audionom record.
I hear that you and your band have sold your mellotron and bought a theremin.
I hear that you and your band have sold your theremin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ludus,
Robert Wyatt,
Iggy Pop,
The Martian,
The Alarm Clocks,
Radio Birdman,
Mary Jane Girls,
Little Man,
Marmalade,
Rod Modell,
The Sonics,
Skarface,
Ituana,
Steve Hackett,
Bronski Beat,
The Standells,
Lower 48,
Joyce Sims,
Monks,
Lightning Bolt,
Heaven 17,
Teenage Jesus and the Jerks,
Ralphi Rosario,
Stereo Dub,
Albert Ayler,
X-102,
Vainqueur,
Erasure,
Scion,
D'Angelo,
Faraquet,
Marine Girls,
X-Ray Spex,
Trumans Water,
U.S. Maple,
DNA,
Ohio Players,
Blake Baxter,
Letta Mbulu,
The Buckinghams,
Ultra Naté,
Country Joe & The Fish,
The Residents,
The Offenders,
The Tremeloes,
Tubeway Army,
Gang Gang Dance,
Soft Machine,
Justin Hinds & The Dominoes,
The Golliwogs,
Negative Approach,
The Red Krayola,
Kerrie Biddell,
Notorious BIG live in Amsterdam,
John Lydon,
Terrestrial Tones,
Electric Light Orchestra,
Slave,
Frankie Knuckles,
Archie Shepp,
Selector Dub Narcotic,
Blancmange, Blancmange, Blancmange, Blancmange.
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.