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 Ivory Coast and from Accra.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Toronto and Delhi.
I'm losing my edge to the art-school Portland 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 1973 at the first Television practice in a loft in New York.
I was working on the 808 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 Rakim to the electroclash 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 Banda Bassotti. All the underground hits.
All Trumans Water tracks. I heard you have a vinyl of every The Last Poets 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 '60s cut and another box set from the '70s.
I hear you're buying a chamberlin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Yaz record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Andrew Hill,
Robert Görl,
Soulsonic Force,
Josef K,
Bluetip,
Soft Machine,
The Beau Brummels,
DeepChord presents Echospace,
David McCallum,
David Axelrod,
Echo & the Bunnymen,
Jacques Brel,
Fluxion,
Con Funk Shun,
Bill Wells,
Hardrive,
Black Pus,
Pharoah Sanders,
Rapeman,
Harmonia,
Newcleus,
Bobby Hutcherson,
Grandmaster Flash,
The Invisible,
Guru Guru,
E-Dancer,
48th St. Collective,
The Blues Magoos,
Wire,
Bobby Sherman,
Scientists,
Bobby Womack,
Zapp,
The Sonics,
Lightning Bolt,
Morten Harket,
Letta Mbulu,
Supertramp,
Procol Harum,
Marshall Jefferson,
James White and The Blacks,
Saccharine Trust,
Minor Threat,
Sun Ra Arkestra,
Isaac Hayes,
the Association,
Nick Fraelich,
Byron Stingily,
The Victims,
Audionom,
The Smoke,
Sällskapet,
Joe Smooth,
These Immortal Souls,
Bush Tetras,
Lindisfarne,
The Chocolate Watch Band,
Cluster,
The J.B.'s,
Black Moon,
Crime,
Arcadia,
Eric Dolphy,
Lee Hazlewood,
Alphaville, Alphaville, Alphaville, Alphaville.
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.