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 Mali and from Sao Paulo.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Accra and Winnipeg.
I'm losing my edge to the art-school Lille 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the harpsichord 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 Agitation Free to the jazz 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 Little Man. All the underground hits.
All Grandmaster Flash tracks. I heard you have a vinyl of every The Seeds record on German import.
I heard that you have a white label of every seminal dance 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 theremin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Loose Ends record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Young Marble Giants,
Letta Mbulu,
Country Joe & The Fish,
The Durutti Column,
Heavy D & The Boyz,
Joy Division,
Boogie Down Productions,
The American Breed,
DNA,
Alice Coltrane,
Nils Olav,
Wasted Youth,
Ash Ra Tempel,
Motorama,
The Kinks,
John Coltrane,
Theoretical Girls,
Joey Negro,
Audionom,
Colin Newman,
Godley & Creme,
Simply Red,
Drive Like Jehu,
New York Dolls,
The Move,
Roy Ayers Ubiquity,
AZ,
Unrelated Segments,
Laurel Aitken,
Jandek,
Pete Rock & C.L. Smooth,
Nick Fraelich,
Janne Schatter,
Arthur Verocai,
The Sound,
Eden Ahbez,
Louis and Bebe Barron,
Jawbox,
Anakelly,
Grauzone,
The Five Americans,
Babytalk,
Jeff Mills,
Lakeside,
Mo-Dettes,
Sällskapet,
Rod Modell,
Bush Tetras,
Peter & Gordon,
Saccharine Trust,
Pulsallama,
The Modern Lovers,
Barrington Levy,
Panda Bear,
DJ Sneak,
Aswad,
ABBA,
Mary Jane Girls,
Kurtis Blow,
The Remains,
Scrapy,
Eurythmics,
Erasure,
Alton Ellis, Alton Ellis, Alton Ellis, Alton Ellis.
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.