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 Libya and from Seoul.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1977.
I'm losing my edge.
To all the kids in Taipei and London.
I'm losing my edge to the art-school Glasgow 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 chamberlin sounds with much patience.
I was there when Michael McDonald 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 Oblivians to the techno kids.
I played it at the Roxy.
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 Agitation Free. All the underground hits.
All Bad Manners tracks. I heard you have a vinyl of every Pulsallama record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a chamberlin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Main Source record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nik Kershaw,
The Martian,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Sound,
Lakeside,
Yazoo,
Rakim,
The Kinks,
the Swans,
Sticky Fingaz feat. Raekwon,
Faust,
Model 500,
The Gap Band,
Susan Cadogan,
Cymande,
Bootsy Collins,
The Durutti Column,
Monks,
Janne Schatter,
Hardrive,
The Wake,
Procol Harum,
Groovy Waters,
Sight & Sound,
Robert Hood,
Jeff Mills,
X-101,
Intrusion,
Delon & Dalcan,
Major Organ And The Adding Machine,
Wire,
T.S.O.L.,
A Certain Ratio,
Warren Ellis,
Pere Ubu,
Art Ensemble Of Chicago,
Reuben Wilson,
Funky Four + One,
Sly & The Family Stone,
Traffic Nightmare,
Mantronix,
Kas Product,
Pantytec,
the Sonics,
Big Daddy Kane,
Sad Lovers and Giants,
Graham Central Station,
The Offenders,
Selector Dub Narcotic,
Nirvana,
Davy DMX,
Organ,
The Count Five,
Lou Reed & Metallica,
Harpers Bizarre,
Franke,
Aloha Tigers,
Index,
Chris Corsano,
Lonnie Liston Smith,
The Beau Brummels,
Chris & Cosey,
Massinfluence, Massinfluence, Massinfluence, Massinfluence.
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.