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 Estonia and from Stockholm.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Spokane and Manchester.
I'm losing my edge to the art-school Seoul 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 1984 at the first Arcadia practice in a loft in London.
I was working on the guitar 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 the Bar-Kays to the grunge 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 Peter & Gordon. All the underground hits.
All Dorothy Ashby tracks. I heard you have a vinyl of every The Associates record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a marimba and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Eric Dolphy record.
I hear that you and your band have sold your oboe and bought a theremin.
I hear that you and your band have sold your theremin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gian Franco Pienzio,
The Velvet Underground,
Aaron Thompson,
Kool Moe Dee,
Monolake,
Alison Limerick,
cv313,
48th St. Collective,
The Five Americans,
Ludus,
World's Most,
Thee Headcoats,
Jesper Dahlback,
Slick Rick,
Severed Heads,
Bauhaus,
Sun Ra Arkestra,
Marshall Jefferson,
Das Ding,
Anakelly,
Hashim,
Kaleidoscope,
Dark Day,
Deepchord,
Isaac Hayes,
The Gladiators,
Whodini,
London Community Gospel Choir,
Pantytec,
The Royal Family And The Poor,
Wasted Youth,
Cluster,
Minutemen,
Glenn Branca,
Peter Gordon & Love of Life Orchestra,
The Knickerbockers,
Agitation Free,
The Detroit Cobras,
Blossom Toes,
Rotary Connection,
Oblivians,
Morten Harket,
Pharaoh Sanders and the Fire Engines,
Kurtis Blow,
The Cowsills,
Anthony Braxton,
Joe Finger,
Bad Manners,
Essential Logic,
The Techniques,
Scratch Acid,
Janne Schatter,
Flipper,
Alton Ellis,
Kerrie Biddell,
Man Parrish,
Wighnomy Brothers & Robag Wruhme,
Zapp,
The Moody Blues,
David McCallum,
Shuggie Otis,
The Gap Band,
John Lydon, John Lydon, John Lydon, John Lydon.
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.