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 Iceland and from Woodstock.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
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 1972.
I'm losing my edge.
To all the kids in Manila and Calgary.
I'm losing my edge to the art-school Mexico City 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 Feelies practice in a loft in Haledon.
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 Slave to the funk kids.
I played it at the Crocodile.
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 Babytalk. All the underground hits.
All kango's stein massive tracks. I heard you have a vinyl of every De La Soul & Jungle Brothers record on German import.
I heard that you have a white label of every seminal jazz 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 rhodes and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Rakim record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bronski Beat,
Sam Rivers,
The Gories,
Scientists,
Ten City,
Echo & the Bunnymen,
Crispian St. Peters,
The Index,
Yusef Lateef,
Barry Ungar,
MC5,
Public Enemy,
Crispy Ambulance,
Glenn Branca,
Ludus,
X-102,
Sun Ra Arkestra,
Sun City Girls,
JFA,
Kenny Larkin,
Minnie Riperton,
kango's stein massive,
Alice Coltrane,
Peter and Kerry,
Rites of Spring,
Richard Hell and the Voidoids,
Jacob Miller,
Laurel Aitken,
Rakim,
Rhythim Is Rhythim,
The Smiths,
Buzzcocks,
The Sound,
Roxy Music,
H. Thieme,
The American Breed,
Curtis Mayfield,
Gregory Isaacs,
The Saints,
Adolescents,
Bad Manners,
Boredoms,
Deepchord,
Sexual Harrassment,
Joe Finger,
Swell Maps,
Symarip,
PIL,
Fugazi,
Scott Walker,
Kango’s Stein Massive,
Radiohead,
The Blues Magoos,
Fela Kuti,
Hasil Adkins,
Patti Smith,
Sixth Finger,
Marc Romboy vs. Booka Shade,
Metal Thangz,
cv313,
Kas Product,
Hardrive,
Beasts of Bourbon,
Brand Nubian, Brand Nubian, Brand Nubian, Brand Nubian.
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.