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 Albania and from Houston.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Mumbai and Seoul.
I'm losing my edge to the art-school Calgary 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 Chic practice in a loft in New York.
I was working on the chamberlin 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 Rhythm & Sound to the disco 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 Eric Copeland. All the underground hits.
All Eve St. Jones tracks. I heard you have a vinyl of every The Busters record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a theremin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Strawberry Alarm Clock record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The United States of America,
Basic Channel,
R.M.O.,
Bobby Womack,
Blake Baxter,
Quando Quango,
The Standells,
Ralphi Rosario,
Animal Collective,
Harpers Bizarre,
The Doors,
Adolescents,
Kool G Rap & DJ Polo,
Archie Shepp,
One Last Wish,
Derrick Morgan,
Moby Grape,
Stiv Bators,
Grey Daturas,
The Selecter,
PIL,
The Smoke,
Blancmange,
the Soft Cell,
Altered Images,
Sister Nancy,
Glenn Branca,
Maurizio,
Cheater Slicks,
Desert Stars,
Scott Walker + Sunn O))),
The Pretty Things,
Delon & Dalcan,
Ultra Naté,
Crispian St. Peters,
Sunsets and Hearts,
Lonnie Liston Smith,
D'Angelo,
Wasted Youth,
The Skatalites,
The Evens,
Traffic Nightmare,
Crime,
Marine Girls,
Camouflage,
Derrick May,
Pere Ubu,
Prince Buster,
Peter and Kerry,
Michelle Simonal,
Jimmy McGriff,
The Victims,
The Shadows of Knight,
Bush Tetras,
Kurtis Blow,
The Cramps,
The Gap Band,
Kango’s Stein Massive,
MC5,
Half Japanese,
Index,
The Kinks,
Von Mondo,
Oneida, Oneida, Oneida, Oneida.
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.