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 Turkey and from Lagos.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Lyon and Lagos.
I'm losing my edge to the art-school Calgary 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 Chic practice in a loft in New York.
I was working on the snare 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 Agitation Free to the rap 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 Schoolly D. All the underground hits.
All Yaz tracks. I heard you have a vinyl of every Vainqueur record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a synthesizer and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Rhythim Is Rhythim record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Neon Judgement,
the Human League,
Goldenarms,
Blossom Toes,
The Barracudas,
Gil Scott-Heron and Jamie xx,
D'Angelo,
A Flock of Seagulls,
Magazine,
Blake Baxter,
Arcadia,
Barclay James Harvest,
Surgeon,
Lalann,
Junior Murvin,
Ash Ra Tempel,
The Stooges,
Aaron Thompson,
London Community Gospel Choir,
Joensuu 1685,
Strawberry Alarm Clock,
Crime,
Gil Scott-Heron & Brian Jackson,
Funkadelic,
Talk Talk,
Siglo XX,
Barrington Levy,
The Standells,
The Blues Magoos,
OOIOO,
Drive Like Jehu,
Davy DMX,
Sällskapet,
10cc,
Heavy D & The Boyz,
Severed Heads,
Darondo,
Rhythim Is Rhythim,
Mr. Review,
Cal Tjader,
Drexciya,
Organ,
The Cowsills,
The Saints,
Albert Ayler,
Barry Ungar,
Stiv Bators,
The Grass Roots,
Deakin,
MDC,
Scott Walker + Sunn O))),
Black Moon,
The Gories,
Eric Copeland,
Negative Approach,
Oppenheimer Analysis,
Lindisfarne,
B.T. Express,
Mad Mike,
Public Enemy,
the Fania All-Stars,
Wire,
Minutemen, Minutemen, Minutemen, Minutemen.
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.