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 Jamaica and from Salvador.
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 1971.
I'm losing my edge.
To all the kids in Shanghai and Lyon.
I'm losing my edge to the art-school Lyon 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 güiro 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 Gang Gang Dance to the techno kids.
I played it at the Troubador.
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 Negative Approach. All the underground hits.
All Andrew Hill tracks. I heard you have a vinyl of every The Seeds record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a guitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Rites of Spring record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fela Kuti,
Slave,
The Alarm Clocks,
Ohio Players,
Notorious Big And Bone Thugs,
Mantronix,
The Cure,
The Sound,
The Stooges,
Soulsonic Force,
Inner City,
Half Japanese,
Radio Birdman,
Neil Young,
The Techniques,
EPMD,
PIL,
Selector Dub Narcotic,
The Monochrome Set,
Magazine,
Subhumans,
Ultra Naté,
Oneida,
The Neon Judgement,
UT,
Michelle Simonal,
Wire,
Eric Copeland,
The United States of America,
Boogie Down Productions,
The Dead C,
Ponytail,
Surgeon,
Chrome,
Connie Case,
Scratch Acid,
Sad Lovers and Giants,
Grauzone,
Roy Ayers Ubiquity,
The Shadows of Knight,
The Modern Lovers,
Warsaw,
The Misunderstood,
The Zeros,
Gil Scott-Heron & Brian Jackson,
Tropical Tobacco,
Joe Finger,
Funky Four + One,
Barry Ungar,
David Bowie,
DJ Sneak,
The Litter,
Simply Red,
Gang Starr,
The Royal Family And The Poor,
The Fire Engines,
The Happenings,
Cal Tjader,
The Chocolate Watch Band,
The Electric Prunes,
Electric Light Orchestra,
Gil Scott Heron, Gil Scott Heron, Gil Scott Heron, Gil Scott Heron.
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.