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 Benin and from Manila.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Woodstock and Columbus.
I'm losing my edge to the art-school Mumbai 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the 808 sounds with much patience.
I was there when Lou Reed 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 Arab on Radar to the disco kids.
I played it at Cafe Wha.
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 Derrick Morgan. All the underground hits.
All Wally Richardson tracks. I heard you have a vinyl of every Young Marble Giants record on German import.
I heard that you have a white label of every seminal electroclash 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 güiro and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Bootsy Collins record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Unrelated Segments,
Babytalk,
Brass Construction,
Theoretical Girls,
Essential Logic,
Television Personalities,
EPMD,
Warsaw,
Cabaret Voltaire,
Bob Dylan,
The Stooges,
Infiniti,
Bootsy Collins,
Livin' Joy,
Peter & Gordon,
Malaria!,
Kool Moe Dee,
Grauzone,
The Kinks,
The Fugs,
a-ha,
Sunsets and Hearts,
Flamin' Groovies,
Sun Ra,
Joe Smooth,
Masters at Work,
Arthur Verocai,
Eddi Front,
Adolescents,
Camouflage,
Das Ding,
Aaron Thompson,
Ralphi Rosario,
World's Most,
Bad Manners,
Deutsch Amerikanische Freundschaft,
Rhythim Is Rhythim,
Audionom,
Rowland S Howard / Lydia Lunch,
Piero Umiliani,
Black Pus,
Surgeon,
Bobby Sherman,
B.T. Express,
Rites of Spring,
Minny Pops,
Buzzcocks,
Pussy Galore,
The Slackers,
Make Up,
Warren Ellis,
De La Soul & Jungle Brothers,
Angels of Light & Akron/Family,
Monks,
Blancmange,
FM Einheit,
The Cosmic Jokers,
Curtis Mayfield,
The Monochrome Set,
James White and The Blacks,
Ohio Players,
The Offenders, The Offenders, The Offenders, The Offenders.
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.