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 Ireland and from Houston.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1978.
I'm losing my edge.
To all the kids in Lille and Spokane.
I'm losing my edge to the art-school Toronto 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 rhodes sounds with much patience.
I was there when Lou Reed 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 Fear to the crunk kids.
I played it at the Hacienda.
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 Major Organ And The Adding Machine. All the underground hits.
All Bobby Byrd tracks. I heard you have a vinyl of every Janne Schatter record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a linndrum and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Joey Negro record.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Gladiators,
Marc Romboy vs. Booka Shade,
Joe Smooth,
Loose Ends,
One Last Wish,
The Gories,
Mr. Review,
Sound Behaviour,
Arcadia,
The Knickerbockers,
Swans,
It's A Beautiful Day,
Alton Ellis,
Charles Mingus,
The Mojo Men,
Eyeless In Gaza,
Mars,
Gary Puckett & The Union Gap,
Kerri Chandler,
Ash Ra Tempel,
Avey Tare,
Lalann,
Accadde A,
Hasil Adkins,
Roy Ayers Ubiquity,
Pylon,
Rites of Spring,
Aural Exciters,
Graham Central Station,
Godley & Creme,
the Sonics,
Yellowson,
Scott Walker,
The Doors,
Marcia Griffiths,
Siouxsie and the Banshees,
Make Up,
Boogie Down Productions,
The Royal Family And The Poor,
EPMD,
The Leaves,
Terror Squad Feat. Camron,
Tommy Roe,
The Smoke,
Blake Baxter,
ABBA,
Stetsasonic,
The Cowsills,
Cal Tjader,
The Residents,
Crooked Eye,
Hoover,
Nils Olav,
Andrew Hill,
The West Coast Pop Art Experimental Band,
Shuggie Otis,
PIL,
Bluetip,
Black Pus,
Don Cherry,
Terry Callier, Terry Callier, Terry Callier, Terry Callier.
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.