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 Kenya and from Hong Kong.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Bologna and Seoul.
I'm losing my edge to the art-school Edmonton 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the 808 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 Pharoah Sanders to the dance kids.
I played it at the Roxy.
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 Aswad. All the underground hits.
All Public Image Ltd. tracks. I heard you have a vinyl of every Robert Hood 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 '60s cut and another box set from the '90s.
I hear you're buying a snare and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a the Normal record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Japan,
John Lydon,
Camron Feat. Memphis Bleek And Beenie Seigel,
Newcleus,
Eli Mardock,
Ultimate Spinach,
Intrusion,
Brand Nubian,
Minny Pops,
Can,
Ralphi Rosario,
Rhythm & Sound,
Rahsaan Roland Kirk,
Grauzone,
The Slackers,
Richard Hell and the Voidoids,
Moby Grape,
the Fania All-Stars,
Heaven 17,
Lightning Bolt,
The Monochrome Set,
Brass Construction,
Motorama,
The Smiths,
Chrome,
Kevin Saunderson,
Kas Product,
The Men They Couldn't Hang,
The Invisible,
John Cale,
Teenage Jesus and the Jerks,
The Knickerbockers,
Manfred Mann's Earth Band,
Jerry Gold Smith,
Agitation Free,
the Sonics,
Godley & Creme,
Gastr Del Sol,
Lizzy Mercier Descloux,
Bang on a Can All-Stars,
The West Coast Pop Art Experimental Band,
Fear,
The Searchers,
Pierre Henry,
Monolake,
China Crisis,
Alton Ellis,
ABBA,
Kings Of Tomorrow,
Todd Terry,
Stockholm Monsters,
Crooked Eye,
Wolf Eyes,
Orchestral Manoeuvres in the Dark,
The Raincoats,
Magazine,
These Immortal Souls,
Agent Orange,
Television,
Rekid, Rekid, Rekid, Rekid.
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.