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 Saudi Arabia and from Lille.
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 Delhi and Paris.
I'm losing my edge to the art-school Toronto 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the organ sounds with much patience.
I was there when Nile Rodgers 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 Mark Hollis to the funk kids.
I played it at the 40 Watt.
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 Rapeman. All the underground hits.
All a-ha tracks. I heard you have a vinyl of every Freddie Wadling 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 '50s cut and another box set from the '80s.
I hear you're buying a rhodes and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Gil Scott Heron record.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eli Mardock,
The Dirtbombs,
The Techniques,
Japan,
The Raincoats,
The Offenders,
The Toasters,
Groovy Waters,
The Fortunes,
AZ,
Spandau Ballet,
The Electric Prunes,
Kayak,
LL Cool J,
Fugazi,
Sugar Minott,
Chris & Cosey,
The Young Rascals,
Masters at Work,
Max Romeo,
The United States of America,
Massinfluence,
FM Einheit,
Michelle Simonal,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Star Department,
Scan 7,
The Pop Group,
Aaron Thompson,
Hot Snakes,
The Busters,
Kerrie Biddell,
Scratch Acid,
Eve St. Jones,
The Music Machine,
Cybotron,
Marc Almond,
Von Mondo,
Bobbi Humphrey,
Minor Threat,
Fort Wilson Riot,
Ten City,
Jimmy McGriff,
Wolf Eyes,
EPMD,
Q and Not U,
Shuggie Otis,
Reagan Youth,
Severed Heads,
Ronnie Foster,
Pantytec,
Ronan,
Cabaret Voltaire,
Eric B and Rakim,
The Move,
Sound Behaviour,
Rahsaan Roland Kirk,
Arcadia,
Terrestrial Tones,
Heavy D & The Boyz,
Johnny Clarke, Johnny Clarke, Johnny Clarke, Johnny Clarke.
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.