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 Uganda and from Lagos.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1970.
I'm losing my edge.
To all the kids in Mexico City and Jakarta.
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 sitar 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 Juan Atkins to the grime kids.
I played it at Cafe Wha.
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 Brick. All the underground hits.
All Terror Squad Feat. Camron tracks. I heard you have a vinyl of every Guru Guru record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an organ and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a 10cc record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Arthur Verocai,
Terrestrial Tones,
Royal Trux,
Charles Mingus,
The Standells,
The Toasters,
Gil Scott-Heron & Brian Jackson,
the Association,
Lee Hazlewood,
Fatback Band,
Agitation Free,
X-101,
Oppenheimer Analysis,
The Smiths,
Hardrive,
The Doors,
Chrome,
Jerry's Kids,
Arab on Radar,
Beasts of Bourbon,
Underground Resistance,
Procol Harum,
Audionom,
Television Personalities,
The Star Department,
Siouxsie and the Banshees,
Orchestral Manoeuvres in the Dark,
Bobby Sherman,
The Dead C,
Yellowson,
Infiniti,
The Leaves,
The Zeros,
The Human League,
The Associates,
Thee Headcoats,
Soul Sonic Force,
R.M.O.,
the Slits,
Shoche,
Drive Like Jehu,
Cheater Slicks,
Red Lorry Yellow Lorry,
Pantytec,
L. Decosne,
Alison Limerick,
MC5,
The Royal Family And The Poor,
Marine Girls,
Grauzone,
Erasure,
Neil Young & Crazy Horse,
The Real Kids,
Brick,
John Lydon,
Nirvana,
Kenny Larkin,
Ponytail,
The Blackbyrds,
The Selecter,
Skaos,
Suburban Knight,
The Walker Brothers, The Walker Brothers, The Walker Brothers, The Walker Brothers.
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.