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 Nepal and from Bologna.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1978.
I'm losing my edge.
To all the kids in Philadelphia and Stockholm.
I'm losing my edge to the art-school Portland 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 snare sounds with much patience.
I was there when Michael McDonald 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 Oneida to the techno kids.
I played it at the Troubador.
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 Deutsch Amerikanische Freundschaft. All the underground hits.
All Young Marble Giants tracks. I heard you have a vinyl of every The Doors record on German import.
I heard that you have a white label of every seminal rock 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 an arpeggiator and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Rufus Thomas record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bootsy's Rubber Band,
Scientists,
Blancmange,
A Flock of Seagulls,
Delta 5,
Sunsets and Hearts,
Skriet,
The Doors,
Sarah Menescal,
Archie Shepp,
David Axelrod,
Fear,
the Bar-Kays,
Bill Wells,
Rahsaan Roland Kirk,
Leonard Cohen,
Rhythim Is Rhythim,
The Searchers,
Moss Icon,
Ornette Coleman,
Wire,
June of 44,
Steve Hackett,
Loose Ends,
Zero Boys,
Angels of Light & Akron/Family,
Dead Boys,
Connie Case,
the Soft Cell,
the Germs,
Section 25,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
48th St. Collective,
Clear Light,
Althea and Donna,
Vainqueur,
The Last Poets,
Super Lover Cee & Casanova Rud,
Ossler,
Gabor Szabo,
Fat Boys,
Joensuu 1685,
Talk Talk,
Yaz,
Dawn Penn,
Tropical Tobacco,
Ten City,
Gang Green,
The Birthday Party,
Flipper,
Pete Rock & C.L. Smooth,
Curtis Mayfield,
The Vogues,
Soul II Soul,
Swans,
Eve St. Jones,
Public Image Ltd.,
Avey Tare & Kría Brekkan,
Black Bananas,
Derrick Morgan,
Lightning Bolt,
The Sonics, The Sonics, The Sonics, The Sonics.
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.