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 Ecuador and from Jakarta.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Accra and Edmonton.
I'm losing my edge to the art-school Seoul 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 1978 at the first Visage practice in a loft in London.
I was working on the güiro sounds with much patience.
I was there when Holger Czukay 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 KRS-One to the dance 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 Jacob Miller. All the underground hits.
All Suicide tracks. I heard you have a vinyl of every Todd Terry 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 '60s cut and another box set from the '70s.
I hear you're buying a harpsichord and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a James Chance & The Contortions record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Darondo,
The Grass Roots,
Rowland S Howard / Lydia Lunch,
Selector Dub Narcotic,
Fat Boys,
Pharaoh Sanders and the Fire Engines,
Minny Pops,
Eric B and Rakim,
Justin Hinds & The Dominoes,
Grauzone,
Ohio Players,
World's Most,
Notorious BIG live in Amsterdam,
Bush Tetras,
Davy DMX,
Tears for Fears,
Gang of Four,
The Index,
The New Christs,
Stereo Dub,
X-101,
Jeff Lynne,
Icehouse,
Loose Ends,
Motorama,
Public Image Ltd.,
Tommy Roe,
Radiohead,
Funky Four + One,
The Jesus and Mary Chain,
Susan Cadogan,
Glambeats Corp.,
Ituana,
Mantronix,
Erasure,
Guru Guru,
Cal Tjader,
10cc,
Freddie Wadling,
Black Pus,
Faust,
Angry Samoans,
Dorothy Ashby,
Stockholm Monsters,
John Foxx,
The Litter,
The Alarm Clocks,
Jacob Miller,
The Shadows of Knight,
Gil Scott-Heron & Brian Jackson,
Cameo,
Qualms,
Unrelated Segments,
Swans,
KRS-One,
The Knickerbockers,
Pere Ubu,
Lucky Dragons, Lucky Dragons, Lucky Dragons, Lucky Dragons.
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.