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 Mozambique and from Bologna.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Spokane and Manchester.
I'm losing my edge to the art-school Woodstock 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 theremin sounds with much patience.
I was there when Nile Rodgers 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 Royal Trux to the grime 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 Half Japanese. All the underground hits.
All Amon Düül II tracks. I heard you have a vinyl of every JFA record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a spring reverb and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Mr. Review record.
I hear that you and your band have sold your synthesizer and bought an organ.
I hear that you and your band have sold your organ and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Henry Cow,
Half Japanese,
Aaron Thompson,
Lower 48,
Rotary Connection,
Swell Maps,
Avey Tare's Slasher Flicks,
Roxette,
Pole,
Kevin Saunderson,
The Men They Couldn't Hang,
Justin Hinds & The Dominoes,
Arab on Radar,
Average White Band,
DJ Style,
The Golliwogs,
Gerry Rafferty,
Eli Mardock,
Laurel Aitken,
Gang Starr,
Bill Near,
The Saints,
The West Coast Pop Art Experimental Band,
Inner City,
James Chance & The Contortions,
Khruangbin,
Idris Muhammad,
Amon Düül II,
Sarah Menescal,
X-Ray Spex,
Skaos,
Stiv Bators,
Dead Boys,
Sad Lovers and Giants,
Depeche Mode,
The Flesh Eaters,
Neil Young & Crazy Horse,
Flash Fearless,
Barbara Tucker,
The Mummies,
Newcleus,
Harpers Bizarre,
Alphaville,
Nils Olav,
The Star Department,
Jeru the Damaja,
John Foxx,
The Jesus and Mary Chain,
Liliput,
Davy DMX,
X-101,
Terrestrial Tones,
Eden Ahbez,
Ralphi Rosario,
Technova,
T. Rex,
De La Soul & Jungle Brothers,
The Pretty Things,
Mission of Burma,
Faust,
Los Fastidios, Los Fastidios, Los Fastidios, Los Fastidios.
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.