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 Kosovo and from Sao Paulo.
But I was there.
I was there in 1980.
I was there at the first Cybotron 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 1964 to 1970.
I'm losing my edge.
To all the kids in Paris and Mexico City.
I'm losing my edge to the art-school Philadelphia 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 Feelies practice in a loft in Haledon.
I was working on the chamberlin 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 Bobby Womack to the crunk kids.
I played it at CBGB's.
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 The West Coast Pop Art Experimental Band. All the underground hits.
All Black Sheep tracks. I heard you have a vinyl of every Sarah Menescal record on German import.
I heard that you have a white label of every seminal techno 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 theremin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Piero Umiliani record.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ralphi Rosario,
Bob Dylan,
Eddi Front,
Bluetip,
Oppenheimer Analysis,
Archie Shepp,
The Gap Band,
Eyeless In Gaza,
Swans,
Magazine,
Lalo Schifrin,
The Mighty Diamonds,
Crime,
Dennis Brown,
The Neon Judgement,
D'Angelo,
The Vogues,
Television,
Echo & the Bunnymen,
The Monks,
Red Lorry Yellow Lorry,
Alphaville,
Deakin,
Rowland S Howard / Lydia Lunch,
The Cosmic Jokers,
Johnny Clarke,
Bill Near,
Pharoah Sanders,
Japan,
Joey Negro,
The Evens,
Louis and Bebe Barron,
Gil Scott Heron,
Das Ding,
Rhythim Is Rhythim,
Dark Day,
Robert Görl,
The Cure,
Zapp,
Delon & Dalcan,
Deadbeat,
Jeru the Damaja,
Junior Murvin,
Severed Heads,
Super Lover Cee & Casanova Rud,
Rakim,
Q and Not U,
Bootsy's Rubber Band,
Danielle Patucci,
Nirvana,
Rod Modell,
Nation of Ulysses,
Pole,
Theoretical Girls,
Kauko Röyhkä ja Narttu,
Slave,
Babytalk,
Crash Course in Science,
Ronan,
The Moody Blues,
ABBA,
Gabor Szabo,
Selector Dub Narcotic, Selector Dub Narcotic, Selector Dub Narcotic, Selector Dub Narcotic.
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.