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 Honduras and from Cairo.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Shanghai and Toronto.
I'm losing my edge to the art-school Taipei 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 Rotary Connection to the techno 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 F. McDonald. All the underground hits.
All Crime tracks. I heard you have a vinyl of every Camouflage record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a güiro and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Slick Rick record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator 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?
Ash Ra Tempel,
Robert Hood,
H. Thieme,
Lou Reed & John Cale,
Yazoo,
Big Daddy Kane,
Pantaleimon,
Vladislav Delay,
Arcadia,
Gong,
Oneida,
Chris Corsano,
Half Japanese,
The Toasters,
Kaleidoscope,
Jerry's Kids,
Newcleus,
Goldenarms,
Matthew Bourne,
Eric B and Rakim,
Jesper Dahlback,
Pussy Galore,
Depeche Mode,
The Invisible,
Todd Rundgren,
Harmonia,
Camouflage,
Scratch Acid,
Art Ensemble Of Chicago,
Model 500,
Cymande,
Robert Görl,
Outsiders,
The Shadows of Knight,
These Immortal Souls,
Ultimate Spinach,
Dark Day,
Gang Gang Dance,
F. McDonald,
Agent Orange,
ABC,
Con Funk Shun,
Nico,
The Star Department,
cv313,
Country Joe & The Fish,
The Raincoats,
Yaz,
The Flesh Eaters,
The Selecter,
Chris & Cosey,
Young Marble Giants,
The Leaves,
The Cure,
Grauzone,
Judy Mowatt,
Susan Cadogan,
Lizzy Mercier Descloux,
Underground Resistance,
The West Coast Pop Art Experimental Band,
Flamin' Groovies,
A Flock of Seagulls,
Pete Rock & C.L. Smooth,
Simply Red, Simply Red, Simply Red, Simply Red.
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.