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 Micronesia and from Salvador.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Copenhagen and Seoul.
I'm losing my edge to the art-school Tokyo 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 808 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 The Offenders 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 Drexciya. All the underground hits.
All Khruangbin tracks. I heard you have a vinyl of every Pantaleimon 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 '50s cut and another box set from the '90s.
I hear you're buying a linndrum and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Saints record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Derrick Morgan,
Nick Fraelich,
Nico,
Infiniti,
Ultra Naté,
Lou Reed & John Cale,
Jawbox,
Peter & Gordon,
Main Source,
Traffic Nightmare,
Gerry Rafferty,
Glenn Branca,
DJ Sneak,
Scott Walker,
Crime,
The Happenings,
Rufus Thomas,
Unwound,
James Chance & The Contortions,
The Last Poets,
Sad Lovers and Giants,
Pole,
Ronnie Foster,
Stereo Dub,
EPMD,
The Star Department,
Mr. Review,
Lonnie Liston Smith,
Khruangbin,
The Moleskins,
Ken Boothe,
Model 500,
Babytalk,
Public Enemy,
Jerry Gold Smith,
Black Moon,
Pussy Galore,
Gabor Szabo,
Boz Scaggs,
Todd Rundgren,
Jeff Mills,
Masters at Work,
Flipper,
Kerri Chandler,
Max Romeo,
Moby Grape,
Spoonie Gee,
Sex Pistols,
Sticky Fingaz feat. Raekwon,
The Red Krayola,
Scratch Acid,
Grandmaster Flash and the Furious Five,
Wasted Youth,
Warsaw,
Inner City,
Pantaleimon,
Nation of Ulysses,
The Litter,
Tears for Fears, Tears for Fears, Tears for Fears, Tears for Fears.
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.