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 Georgia and from Glasgow.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Accra and Houston.
I'm losing my edge to the art-school Paris 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 spring reverb 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 Juan Atkins 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 Siglo XX. All the underground hits.
All Buzzcocks tracks. I heard you have a vinyl of every Teenage Jesus and the Jerks record on German import.
I heard that you have a white label of every seminal dance 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 808 and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Be Bop Deluxe record.
I hear that you and your band have sold your marimba and bought an oboe.
I hear that you and your band have sold your oboe and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sound Behaviour,
Public Enemy,
The Doors,
Quadrant,
The New Christs,
The Real Kids,
the Germs,
The West Coast Pop Art Experimental Band,
Gil Scott-Heron & Brian Jackson,
The Peanut Butter Conspiracy,
Prince Buster,
Judy Mowatt,
Young Marble Giants,
The Dirtbombs,
Slick Rick,
Oneida,
Yaz,
The Remains,
the Normal,
Bob Dylan,
Rufus Thomas,
Essential Logic,
Liliput,
Iggy Pop,
Boredoms,
B.T. Express,
Kool G Rap & DJ Polo,
Eddi Front,
Robert Hood,
Porter Ricks,
Freddie Wadling,
The Gladiators,
Easy Going,
Robert Görl,
The Gun Club,
This Heat,
The Sound,
Avey Tare,
Dawn Penn,
June Days,
Amon Düül,
Moss Icon,
The Modern Lovers,
Ultramagnetic MC's,
The Slackers,
The Misunderstood,
The Blues Magoos,
Brand Nubian,
Spandau Ballet,
Arcadia,
Art Ensemble Of Chicago,
UT,
Sällskapet,
Wire,
Barclay James Harvest,
Roy Ayers Ubiquity,
Lalann,
Oblivians,
Byron Stingily,
Connie Case, Connie Case, Connie Case, Connie Case.
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.