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 Qatar and from Hong Kong.
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 1961 to 1978.
I'm losing my edge.
To all the kids in Accra and New York.
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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the rhodes sounds with much patience.
I was there when Nile Rodgers 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 West Coast Pop Art Experimental Band to the rap 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 Bobbi Humphrey. All the underground hits.
All Deepchord tracks. I heard you have a vinyl of every Ornette Coleman record on German import.
I heard that you have a white label of every seminal crunk 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 marimba and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Gang Green record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fire Engines,
London Community Gospel Choir,
One Last Wish,
Nick Cave & The Bad Seeds,
The Gap Band,
The Neon Judgement,
Mad Mike,
Amazonics,
Sarah Menescal,
Parry Music,
The Star Department,
Al Stewart,
10cc,
Skriet,
Adolescents,
Bizarre Inc.,
48th St. Collective,
Echo & the Bunnymen,
The Techniques,
Stockholm Monsters,
Oneida,
Cluster,
Rakim,
Mark Hollis,
U.S. Maple,
Albert Ayler,
Barclay James Harvest,
Moss Icon,
Saccharine Trust,
Rufus Thomas,
The Mummies,
Mission of Burma,
Crispian St. Peters,
Altered Images,
Delta 5,
DNA,
Danielle Patucci,
Faraquet,
Amon Düül II,
Be Bop Deluxe,
Ornette Coleman,
Soft Machine,
Robert Wyatt,
Heavy D & The Boyz,
New Order,
The Seeds,
The Invisible,
Fort Wilson Riot,
Bad Manners,
ABC,
Jerry's Kids,
Sun City Girls,
Babytalk,
Easy Going,
Laurel Aitken,
Electric Prunes,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Scion,
Lou Reed,
The Young Rascals,
John Coltrane,
Scratch Acid,
Section 25, Section 25, Section 25, Section 25.
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.