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 Belgium and from Jakarta.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1968 to 1977.
I'm losing my edge.
To all the kids in Lyon and Spokane.
I'm losing my edge to the art-school Manchester 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the chamberlin 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 Patti Smith to the rock 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 Fat Boys. All the underground hits.
All Bobbi Humphrey tracks. I heard you have a vinyl of every F. McDonald record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a güiro and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Make Up record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eric B and Rakim,
It's A Beautiful Day,
Amon Düül II,
Glenn Branca,
Royal Trux,
Rekid,
Intrusion,
The Motions,
Yazoo,
Index,
Fatback Band,
Warsaw,
Avey Tare's Slasher Flicks,
Neil Young,
Fad Gadget,
Pharoah Sanders,
Nick Fraelich,
The Chocolate Watch Band,
Vaughan Mason & Crew,
Nik Kershaw,
Strawberry Alarm Clock,
The Index,
Unrelated Segments,
Howard Jones,
Mark Hollis,
Tropical Tobacco,
The Modern Lovers,
Blancmange,
Throbbing Gristle,
Andrew Hill,
The Gun Club,
Qualms,
Japan,
Wasted Youth,
Gary Puckett & The Union Gap,
Soul Sonic Force,
Sun Ra,
L. Decosne,
Bush Tetras,
Camron Feat. Jay Z And Juelz,
Sly & The Family Stone,
Bronski Beat,
The Beau Brummels,
The Red Krayola,
Bang on a Can All-Stars,
Nick Cave & The Bad Seeds,
Mantronix,
Rahsaan Roland Kirk,
Arab on Radar,
Angry Samoans,
Siouxsie and the Banshees,
David Bowie,
The Vogues,
Ken Boothe,
Pharaoh Sanders and the Fire Engines,
The Gories,
Henry Cow,
New Order,
R.M.O.,
Hashim,
Grandmaster Flash,
Richard Hell and the Voidoids,
Gang Starr, Gang Starr, Gang Starr, Gang Starr.
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.