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 Guatemala and from Copenhagen.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Lille and Salvador.
I'm losing my edge to the art-school Tokyo 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 spring reverb sounds with much patience.
I was there when Nile Rodgers 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 Laurel Aitken to the rock 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 The Mighty Diamonds. All the underground hits.
All Harry Pussy tracks. I heard you have a vinyl of every Gerry Rafferty record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a marimba and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The United States of America record.
I hear that you and your band have sold your linndrum and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aloha Tigers,
Brass Construction,
Marcia Griffiths,
Funkadelic,
Warren Ellis,
Flash Fearless,
Khruangbin,
Shuggie Otis,
Joey Negro,
The United States of America,
Gian Franco Pienzio,
Silicon Teens,
Junior Murvin,
Freddie Wadling,
Fugazi,
Groovy Waters,
Blake Baxter,
June Days,
the Soft Cell,
The Modern Lovers,
Max Romeo,
The Black Dice,
DJ Style,
Quantec,
Kaleidoscope,
Gabor Szabo,
Vladislav Delay,
The Divine Comedy,
Bobby Hutcherson,
Wire,
Rapeman,
Ohio Players,
the Slits,
Bobby Byrd,
Technova,
Scrapy,
The Slackers,
Gang of Four,
Glambeats Corp.,
Sam Rivers,
Oppenheimer Analysis,
Althea and Donna,
Sound Behaviour,
Sarah Menescal,
Mars,
Oblivians,
Lightning Bolt,
Ludus,
Reagan Youth,
Trumans Water,
PIL,
The Remains,
Hardrive,
KRS-One,
Fela Kuti,
Dorothy Ashby,
Crash Course in Science,
Lungfish,
Radio Birdman,
Nas,
Ultimate Spinach,
Kings Of Tomorrow, Kings Of Tomorrow, Kings Of Tomorrow, Kings Of Tomorrow.
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.