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 Kiribati and from Calgary.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1967 to 1976.
I'm losing my edge.
To all the kids in Mexico City and Hong Kong.
I'm losing my edge to the art-school Lyon 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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the arpeggiator sounds with much patience.
I was there when Holger Czukay 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 Man Parrish to the rock 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 Charles Mingus. All the underground hits.
All Popol Vuh tracks. I heard you have a vinyl of every Alison Limerick 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 '70s cut and another box set from the '80s.
I hear you're buying a 808 and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Detroit Cobras record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ken Boothe,
Todd Rundgren,
Radio Birdman,
Sunsets and Hearts,
Black Flag,
Eli Mardock,
Gong,
Pantaleimon,
Electric Prunes,
Gian Franco Pienzio,
Ronan,
Davy DMX,
Lebanon Hanover,
Shuggie Otis,
Notorious Big And Bone Thugs,
Swell Maps,
Delta 5,
Max Romeo,
Patti Smith,
Dorothy Ashby,
8 Eyed Spy,
Reuben Wilson,
X-101,
The Gun Club,
Ultra Naté,
Liliput,
Warren Ellis,
Maurizio,
Whodini,
Grandmaster Flash and the Furious Five,
Bizarre Inc.,
Marine Girls,
Moby Grape,
Ajijia Myrayebe,
Blossom Toes,
Strawberry Alarm Clock,
Jeff Mills,
Tubeway Army,
Kango’s Stein Massive,
Kayak,
Wolf Eyes,
Excepter,
Peter Gordon & Love of Life Orchestra,
the Slits,
Alton Ellis,
The Associates,
The Beau Brummels,
Eric Copeland,
D'Angelo,
Rosa Yemen,
Radiohead,
Lafayette Afro Rock Band,
Robert Hood,
Quando Quango,
Marcia Griffiths,
The Raincoats,
Qualms,
T. Rex,
Lightning Bolt,
Wally Richardson,
The Gladiators,
Pharaoh Sanders and the Fire Engines, Pharaoh Sanders and the Fire Engines, Pharaoh Sanders and the Fire Engines, Pharaoh Sanders and the Fire Engines.
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.