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 India and from Toronto.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Spokane and Salvador.
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 1978 at the first Visage practice in a loft in London.
I was working on the 808 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 The Chocolate Watch Band to the grime kids.
I played it at the Spitz.
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 ABC. All the underground hits.
All T.S.O.L. tracks. I heard you have a vinyl of every ABC 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 '80s cut and another box set from the '80s.
I hear you're buying a synthesizer and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Slave record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
ABBA,
Andrew Hill,
Mandrill,
Funkadelic,
These Immortal Souls,
Alice Coltrane,
Quadrant,
Little Man,
Moby Grape,
Nils Olav,
Marshall Jefferson,
Amon Düül,
New Order,
Surgeon,
John Coltrane,
Subhumans,
Ralphi Rosario,
Cameo,
The Doors,
L. Decosne,
The Black Dice,
Larry & the Blue Notes,
The Moody Blues,
Vaughan Mason & Crew,
Kool G Rap & DJ Polo,
Brand Nubian,
Electric Light Orchestra,
the Association,
Gabor Szabo,
Infiniti,
Fatback Band,
John Foxx,
Chris Corsano,
Notorious BIG live in Amsterdam,
X-Ray Spex,
The Blues Magoos,
Quantec,
Connie Case,
The Fugs,
Cecil Taylor,
Amon Düül II,
Moss Icon,
Monks,
B.T. Express,
The Standells,
E-Dancer,
Das Ding,
Unrelated Segments,
Minutemen,
Pantaleimon,
The Stooges,
The Electric Prunes,
Scientists,
Barclay James Harvest,
Rakim,
Pagans,
Lakeside,
Gang Gang Dance,
Super Lover Cee & Casanova Rud,
Bill Near,
James White and The Blacks, James White and The Blacks, James White and The Blacks, James White and The Blacks.
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.