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 Albania and from Woodstock.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Taipei and Johannesburg.
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 mellotron sounds with much patience.
I was there when David Bowie 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 Wire to the punk 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 Scrapy. All the underground hits.
All The Slackers tracks. I heard you have a vinyl of every Richard Hell and the Voidoids record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a güiro and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Andrew Ashong & Theo Parrish record.
I hear that you and your band have sold your güiro and bought a theremin.
I hear that you and your band have sold your theremin and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Divine Comedy,
Freddie Wadling,
Harpers Bizarre,
E-Dancer,
Gang of Four,
Desert Stars,
The Modern Lovers,
Judy Mowatt,
the Association,
The Busters,
Liliput,
Sunsets and Hearts,
The Toasters,
Tropical Tobacco,
Bad Manners,
Unrelated Segments,
Wally Richardson,
Rosa Yemen,
London Community Gospel Choir,
Oppenheimer Analysis,
Funkadelic,
John Foxx,
Juan Atkins,
Index,
Moebius,
Charles Mingus,
Sexual Harrassment,
ABC,
Pylon,
Metal Thangz,
Ice-T,
Aloha Tigers,
The Dave Clark Five,
10cc,
Flipper,
The J.B.'s,
The Doors,
Sun Ra Arkestra,
Joe Smooth,
Laurel Aitken,
Monolake,
Joey Negro,
The Human League,
X-Ray Spex,
Minutemen,
Talk Talk,
Isaac Hayes,
Archie Shepp,
It's A Beautiful Day,
Stockholm Monsters,
Roy Ayers Ubiquity,
The Buckinghams,
Section 25,
Shuggie Otis,
Supertramp,
The Techniques,
Röyhkä ja Rättö ja Lehtisalo,
Hashim,
Scion,
Newcleus,
Mo-Dettes, Mo-Dettes, Mo-Dettes, Mo-Dettes.
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.