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 South Sudan and from Manila.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1961 to 1978.
I'm losing my edge.
To all the kids in Stockholm and Cairo.
I'm losing my edge to the art-school Columbus 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 organ sounds with much patience.
I was there when Donald Fagen 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 Vladislav Delay to the funk 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 Ultimate Spinach tracks. I heard you have a vinyl of every KRS-One record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an organ and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Dark Day record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Neu!,
Susan Cadogan,
Dead Boys,
Avey Tare & Kría Brekkan,
MDC,
Vaughan Mason & Crew,
Kauko Röyhkä ja Narttu,
The Remains,
Lonnie Liston Smith,
The Red Krayola,
Grandmaster Flash and the Furious Five,
Section 25,
Symarip,
Stiv Bators,
Lebanon Hanover,
The Searchers,
The Velvet Underground,
Fugazi,
Monolake,
The Offenders,
Derrick Morgan,
Sarah Menescal,
Jesper Dahlbäck,
Nik Kershaw,
Laurel Aitken,
Minnie Riperton,
48th St. Collective,
The Grass Roots,
Johnny Clarke,
Saccharine Trust,
Alison Limerick,
Todd Terry,
Idris Muhammad,
James White and The Blacks,
Bootsy's Rubber Band,
Andrew Ashong & Theo Parrish,
Maurizio,
Minutemen,
Lou Reed & Metallica,
Funkadelic,
Michelle Simonal,
Jacques Brel,
Danielle Patucci,
Mantronix,
L. Decosne,
Marshall Jefferson,
The Moleskins,
Camouflage,
The Modern Lovers,
The Victims,
Loose Ends,
The Young Rascals,
The Knickerbockers,
Art Ensemble Of Chicago,
Yazoo,
Graham Central Station,
Infiniti,
The Happenings,
The Cramps,
Adolescents,
Second Layer,
Jandek,
Gang of Four,
Marcia Griffiths, Marcia Griffiths, Marcia Griffiths, Marcia Griffiths.
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.