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 Marshall Islands 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 1967 to 1973.
I'm losing my edge.
To all the kids in Mumbai and Accra.
I'm losing my edge to the art-school Seoul 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the mellotron sounds with much patience.
I was there when Donald Fagen 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 The Fall to the punk kids.
I played it at CBGB's.
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 Sonny Sharrock. All the underground hits.
All Albert Ayler tracks. I heard you have a vinyl of every Grandmaster Flash and the Furious Five record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a snare and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Magazine record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Smoke,
Roxy Music,
Johnny Clarke,
Jimmy McGriff,
The Young Rascals,
Agitation Free,
Soul Sonic Force,
The Pretty Things,
Flamin' Groovies,
Ossler,
Royal Trux,
Procol Harum,
Siouxsie and the Banshees,
Camouflage,
Rahsaan Roland Kirk,
Pierre Henry,
Ultra Naté,
Stetsasonic,
MDC,
Dave Gahan,
Tropical Tobacco,
Peter Gordon & Love of Life Orchestra,
Thee Headcoats,
The Cramps,
The Offenders,
The Litter,
The Five Americans,
Aural Exciters,
Derrick May,
the Association,
Crooked Eye,
Traffic Nightmare,
Alice Coltrane,
Ten City,
The Zeros,
Delon & Dalcan,
Vaughan Mason & Crew,
Kas Product,
Simply Red,
The Index,
Laurel Aitken,
Cheater Slicks,
Sun Ra Arkestra,
Man Parrish,
Maurizio,
Warren Ellis,
The Fuzztones,
Arcadia,
Skaos,
DeepChord presents Echospace,
Lalo Schifrin,
Ultramagnetic MC's,
Joe Finger,
Eli Mardock,
The Dave Clark Five,
Glenn Branca,
Liliput,
The Smiths,
The Monochrome Set,
Bluetip,
Marshall Jefferson,
Unwound, Unwound, Unwound, Unwound.
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.