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 Sweden and from Stockholm.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Bremen and Philadelphia.
I'm losing my edge to the art-school Winnipeg 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the snare sounds with much patience.
I was there when Michael McDonald 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 Charles Mingus to the jazz 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 Robert Wyatt. All the underground hits.
All Severed Heads tracks. I heard you have a vinyl of every Barry Ungar record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a linndrum and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a 48th St. Collective record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Reed & John Cale,
Circle Jerks,
Jacques Brel,
X-Ray Spex,
Boogie Down Productions,
Gil Scott-Heron & Brian Jackson,
ABBA,
the Soft Cell,
Silicon Teens,
Sarah Menescal,
Cybotron,
Bobby Hutcherson,
The Mighty Diamonds,
Ludus,
Bang on a Can All-Stars,
The Young Rascals,
The Associates,
Sandy B,
Siouxsie and the Banshees,
Judy Mowatt,
Agitation Free,
Arab on Radar,
Flipper,
Bluetip,
Wolf Eyes,
Juan Atkins,
The Kinks,
The Durutti Column,
Jesper Dahlbäck,
Unwound,
Dead Boys,
Dark Day,
Davy DMX,
Idris Muhammad,
Bootsy's Rubber Band,
Stiv Bators,
Terrestrial Tones,
Lebanon Hanover,
Minnie Riperton,
Slick Rick,
Public Enemy,
Rhythim Is Rhythim,
Gil Scott Heron,
Selector Dub Narcotic,
Porter Ricks,
Lakeside,
The Doors,
cv313,
The New Christs,
Bobby Womack,
Sticky Fingaz feat. Raekwon,
Urselle,
Pere Ubu,
Gang Starr,
Blake Baxter,
Kas Product,
EPMD,
Mad Mike,
Los Fastidios,
Massinfluence,
Crispian St. Peters,
Eyeless In Gaza,
Manfred Mann's Earth Band,
Byron Stingily, Byron Stingily, Byron Stingily, Byron Stingily.
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.