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 Argentina and from Calgary.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Paris and Portland.
I'm losing my edge to the art-school Shanghai 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 rhodes 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 Unwound to the jazz kids.
I played it at Trash.
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 Gian Franco Pienzio. All the underground hits.
All Porter Ricks tracks. I heard you have a vinyl of every Sarah Menescal 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 mellotron and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Joe Smooth record.
I hear that you and your band have sold your linndrum and bought an oboe.
I hear that you and your band have sold your oboe and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kango’s Stein Massive,
Little Man,
Yazoo,
John Foxx,
Lakeside,
Rotary Connection,
cv313,
Pet Shop Boys,
The Pretty Things,
Carl Craig,
Bootsy's Rubber Band,
Country Teasers,
Ultimate Spinach,
Dead Boys,
Faraquet,
Ohio Players,
Ronnie Foster,
Make Up,
Liaisons Dangereuses,
Leonard Cohen,
Eric B and Rakim,
Deepchord,
Liliput,
Davy DMX,
The Techniques,
Major Organ And The Adding Machine,
Moby Grape,
Arthur Verocai,
Nick Fraelich,
Morten Harket,
The Fall,
Heavy D & The Boyz,
Ash Ra Tempel,
The New Christs,
Marc Romboy vs. Booka Shade,
Spandau Ballet,
Interpol,
Gong,
Oneida,
China Crisis,
Vaughan Mason & Crew,
The Vogues,
Monks,
Drexciya,
Spoonie Gee,
Eurythmics,
Skriet,
Maurizio,
Niagra,
Rod Modell,
Brothers Johnson,
Black Flag,
Todd Terry,
The Gap Band,
Curtis Mayfield,
Quadrant,
Nation of Ulysses,
R.M.O.,
Stiv Bators,
Amon Düül II,
Excepter,
Can,
Brick,
The Detroit Cobras, The Detroit Cobras, The Detroit Cobras, The Detroit Cobras.
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.