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 Chad and from Manila.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1972.
I'm losing my edge.
To all the kids in Toronto and Bologna.
I'm losing my edge to the art-school Houston 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 1976 at the first Chic practice in a loft in New York.
I was working on the güiro sounds with much patience.
I was there when Robert Palmer 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 Fugs to the punk 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 John Cale. All the underground hits.
All Underground Resistance tracks. I heard you have a vinyl of every Oppenheimer Analysis record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a spring reverb and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Brass Construction record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
B.T. Express,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Derrick May,
Half Japanese,
Ultramagnetic MC's,
Gang Starr,
The Slits,
Yaz,
Neil Young & Crazy Horse,
Scientists,
Vainqueur,
Rosa Yemen,
Cecil Taylor,
Rites of Spring,
Bill Wells,
UT,
Marc Almond,
Mark Hollis,
Organ,
Bobbi Humphrey,
The Mummies,
Sticky Fingaz feat. Raekwon,
The Wake,
Zapp,
Kurtis Blow,
Captain Beefheart & His Magic Band,
Andrew Ashong & Theo Parrish,
The New Christs,
Fifty Foot Hose,
Saccharine Trust,
The Monochrome Set,
The Fugs,
Scion,
Soft Machine,
Colin Newman,
Bobby Womack,
Bauhaus,
Johnny Osbourne,
Black Sheep,
Byron Stingily,
Brand Nubian,
Stockholm Monsters,
The J.B.'s,
Jeff Mills,
Dark Day,
Second Layer,
Jawbox,
Sound Behaviour,
Faust,
Das Ding,
The Dead C,
Wighnomy Brothers & Robag Wruhme,
AZ,
The Knickerbockers,
Lou Reed & Metallica,
The Mighty Diamonds,
The Young Rascals,
Duran Duran,
Audionom,
Jacques Brel,
Electric Prunes, Electric Prunes, Electric Prunes, Electric Prunes.
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.