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 Egypt and from Glasgow.
But I was there.
I was there in 1976.
I was there at the first Chic 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 1960 to 1977.
I'm losing my edge.
To all the kids in Sao Paulo and Spokane.
I'm losing my edge to the art-school Johannesburg 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 sitar 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 In Retrospect to the grime 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 Television Personalities. All the underground hits.
All Silicon Teens tracks. I heard you have a vinyl of every Peter & Gordon record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a spring reverb and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Duran Duran record.
I hear that you and your band have sold your güiro and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Laurel Aitken,
World's Most,
James White and The Blacks,
The Black Dice,
Kool G Rap & DJ Polo,
Bush Tetras,
X-Ray Spex,
Q65,
Moebius,
Mark Hollis,
Sam Rivers,
The Gun Club,
48th St. Collective,
Lonnie Liston Smith,
Tubeway Army,
Absolute Body Control,
Nation of Ulysses,
Joensuu 1685,
Kenny Larkin,
Eden Ahbez,
Crash Course in Science,
Judy Mowatt,
The Remains,
Smog,
The Five Americans,
Theoretical Girls,
Groovy Waters,
Yaz,
Banda Bassotti,
Panda Bear,
Sällskapet,
Larry & the Blue Notes,
Electric Prunes,
Section 25,
Gang Green,
Agitation Free,
Crime,
Amon Düül II,
Pet Shop Boys,
Public Image Ltd.,
The Selecter,
Harry Pussy,
The West Coast Pop Art Experimental Band,
The Count Five,
Jacques Brel,
The Velvet Underground,
Curtis Mayfield,
Chris & Cosey,
the Human League,
Vainqueur,
Arthur Verocai,
Brothers Johnson,
Lou Reed,
Japan,
E-Dancer,
The Dead C,
Graham Central Station,
It's A Beautiful Day,
John Lydon,
Bill Wells,
Rakim,
Charles Mingus,
Alphaville,
The Stooges, The Stooges, The Stooges, The Stooges.
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.