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 Kazakhstan and from New York.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1979.
I'm losing my edge.
To all the kids in Madrid and Beijing.
I'm losing my edge to the art-school Philadelphia 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 rhodes sounds with much patience.
I was there when Tom Verlaine 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 Gichy Dan to the rap 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 Brass Construction. All the underground hits.
All Wire tracks. I heard you have a vinyl of every Gil Scott-Heron and Jamie xx 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 '60s cut and another box set from the '80s.
I hear you're buying a mellotron and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Rapeman record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dual Sessions,
Terrestrial Tones,
The Fugs,
Magazine,
The Pop Group,
Symarip,
Minnie Riperton,
Maleditus Sound,
Guru Guru,
Scion,
K-Klass,
The Jesus and Mary Chain,
Neil Young & Crazy Horse,
The Move,
Fad Gadget,
X-102,
Frankie Knuckles,
Public Image Ltd.,
Tubeway Army,
Ajijia Myrayebe,
Sonny Sharrock,
Mad Mike,
Sparks,
In Retrospect,
Gregory Isaacs,
Dead Boys,
David Axelrod,
Lalo Schifrin,
It's A Beautiful Day,
Moss Icon,
Stetsasonic,
Connie Case,
Funky Four + One,
Soul II Soul,
Gil Scott-Heron & Brian Jackson,
Selector Dub Narcotic,
The West Coast Pop Art Experimental Band,
The Dead C,
Suicide,
Rahsaan Roland Kirk,
Can,
Moebius,
Circle Jerks,
The Index,
Barclay James Harvest,
Chris Corsano,
The Motions,
The Raincoats,
Visage,
Vladislav Delay,
The Velvet Underground,
Kenny Larkin,
Tommy Roe,
Procol Harum,
The Real Kids,
The Tremeloes,
John Lydon,
Marvin Gaye,
Pylon,
ABBA,
Loose Ends, Loose Ends, Loose Ends, Loose Ends.
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.