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 Andorra and from Accra.
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 1962 to 1978.
I'm losing my edge.
To all the kids in Manchester and Accra.
I'm losing my edge to the art-school Tokyo 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 808 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 Schoolly D to the dance 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 Eric Dolphy. All the underground hits.
All Rapeman tracks. I heard you have a vinyl of every Japan record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a sitar and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Ronan record.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Association,
The Men They Couldn't Hang,
Stockholm Monsters,
Derrick May,
Organ,
The Slits,
Louis and Bebe Barron,
The Motions,
Flash Fearless,
Jacob Miller,
The Young Rascals,
the Soft Cell,
Sparks,
Ultimate Spinach,
Rufus Thomas,
The Offenders,
Minny Pops,
Symarip,
KRS-One,
The Moody Blues,
James White and The Blacks,
Hasil Adkins,
Scion,
X-102,
A Certain Ratio,
Bronski Beat,
Magazine,
Black Bananas,
Simply Red,
The J.B.'s,
Aswad,
Freddie Wadling,
the Slits,
Maurizio,
Vainqueur,
Lungfish,
Das Ding,
Rekid,
Scrapy,
Fear,
Sun City Girls,
The Fall,
The Mojo Men,
Eyeless In Gaza,
Kauko Röyhkä ja Narttu,
Black Sheep,
London Community Gospel Choir,
Lucky Dragons,
Rapeman,
Larry & the Blue Notes,
New York Dolls,
The Seeds,
Vladislav Delay,
Eric B and Rakim,
Deepchord,
Duran Duran,
Dead Boys,
Underground Resistance,
Easy Going,
Lower 48,
Lakeside,
Zero Boys,
Section 25,
Pantytec, Pantytec, Pantytec, Pantytec.
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.