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 Laos and from Delhi.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1975.
I'm losing my edge.
To all the kids in Shanghai and Mexico City.
I'm losing my edge to the art-school Manila 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 chamberlin sounds with much patience.
I was there when David Bowie 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 K-Klass to the jazz kids.
I played it at Trash.
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 Wally Richardson. All the underground hits.
All Bobby Byrd tracks. I heard you have a vinyl of every Oneida 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 '50s cut and another box set from the '90s.
I hear you're buying a sitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Newcleus record.
I hear that you and your band have sold your arpeggiator and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Minnie Riperton,
Notorious Big And Bone Thugs,
Brothers Johnson,
The Zeros,
Funky Four + One,
Shuggie Otis,
Wasted Youth,
Major Organ And The Adding Machine,
Outsiders,
The Fortunes,
John Cale,
MC5,
Wolf Eyes,
Cameo,
Cabaret Voltaire,
The Blues Magoos,
Vainqueur,
The Fuzztones,
The Cosmic Jokers,
Ohio Players,
ABBA,
Amon Düül,
Moby Grape,
DJ Style,
Dark Day,
Monolake,
The Residents,
Gang Green,
Unrelated Segments,
Bootsy Collins,
Sight & Sound,
R.M.O.,
Connie Case,
Lungfish,
Derrick May,
Ronan,
Groovy Waters,
Harpers Bizarre,
The Vogues,
Charles Mingus,
Gichy Dan,
Public Image Ltd.,
Johnny Clarke,
Flamin' Groovies,
Section 25,
Rhythm & Sound,
Black Pus,
Nik Kershaw,
Zapp,
Sun City Girls,
The Pop Group,
B.T. Express,
Agitation Free,
The Young Rascals,
Hasil Adkins,
Delon & Dalcan,
The Wake,
Faust,
Dave Gahan,
Leonard Cohen,
Main Source, Main Source, Main Source, Main Source.
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.