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 Kosovo and from Lille.
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 1964 to 1976.
I'm losing my edge.
To all the kids in Portland and Cairo.
I'm losing my edge to the art-school Johannesburg 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the synthesizer sounds with much patience.
I was there when Lou Reed 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 Offenders to the crunk kids.
I played it at the Astoria.
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 Grandmaster Flash. All the underground hits.
All David Axelrod tracks. I heard you have a vinyl of every Silicon Teens 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 güiro and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Music Machine record.
I hear that you and your band have sold your harpsichord and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott-Heron & Brian Jackson,
The Moleskins,
Derrick Morgan,
Gary Puckett & The Union Gap,
Sister Nancy,
Al Stewart,
Hoover,
Ajijia Myrayebe,
Scratch Acid,
A Flock of Seagulls,
Notorious Big And Bone Thugs,
Piero Umiliani,
The Gun Club,
Japan,
FM Einheit,
Rhythm & Sound,
Louis and Bebe Barron,
Skarface,
Danielle Patucci,
Little Man,
Procol Harum,
Yaz,
The Stooges,
The Gladiators,
The Sisters of Mercy,
U.S. Maple,
Pierre Henry,
The Angels of Light,
Glambeats Corp.,
Blossom Toes,
Kas Product,
Lakeside,
Ossler,
Rekid,
These Immortal Souls,
The Velvet Underground,
Black Flag,
Half Japanese,
Black Sheep,
Leonard Cohen,
Brick,
T. Rex,
David McCallum,
The Alarm Clocks,
Eden Ahbez,
Masters at Work,
Moby Grape,
Pantaleimon,
Oneida,
Fugazi,
Q65,
Michelle Simonal,
Wolf Eyes,
Heavy D & The Boyz,
The Sound,
48th St. Collective,
Skriet,
Fifty Foot Hose,
the Slits,
Angels of Light & Akron/Family,
Visage, Visage, Visage, Visage.
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.