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 Spain and from Woodstock.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Delhi and Bremen.
I'm losing my edge to the art-school Johannesburg 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 synthesizer sounds with much patience.
I was there when Tom Verlaine 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 Major Organ And The Adding Machine to the crunk kids.
I played it at the 40 Watt.
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 Sparks. All the underground hits.
All Yusef Lateef tracks. I heard you have a vinyl of every The Slits 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 '70s cut and another box set from the '80s.
I hear you're buying a 808 and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Major Organ And The Adding Machine record.
I hear that you and your band have sold your güiro and bought a marimba.
I hear that you and your band have sold your marimba and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gang Green,
Godley & Creme,
Andrew Ashong & Theo Parrish,
48th St. Collective,
Scott Walker + Sunn O))),
Bobby Sherman,
The Sisters of Mercy,
Eden Ahbez,
Public Enemy,
Fifty Foot Hose,
Pete Rock & C.L. Smooth,
Lucky Dragons,
Pylon,
John Cale,
Kevin Saunderson,
Red Lorry Yellow Lorry,
Todd Terry,
Soul Sonic Force,
UT,
Roxette,
Super Lover Cee & Casanova Rud,
Qualms,
Electric Light Orchestra,
Shuggie Otis,
The Jesus and Mary Chain,
Dead Boys,
Alphaville,
Arthur Verocai,
Joyce Sims,
The Toasters,
Reagan Youth,
The Residents,
Bill Near,
DNA,
Camron Feat. Memphis Bleek And Beenie Seigel,
Dark Day,
John Coltrane,
Scratch Acid,
Roger Hodgson,
Rhythm & Sound,
Flash Fearless,
The Gories,
Little Man,
Unwound,
The Buckinghams,
Arab on Radar,
Max Romeo,
Ludus,
Bluetip,
David Axelrod,
Chris Corsano,
Lungfish,
Juan Atkins,
Jeru the Damaja,
Bootsy's Rubber Band,
The Music Machine,
Pussy Galore,
Oneida,
Sonic Youth,
Sound Behaviour,
The Golliwogs,
James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions.
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.