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 United States and from Mexico City.
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 1964 to 1976.
I'm losing my edge.
To all the kids in Columbus and Tokyo.
I'm losing my edge to the art-school Glasgow 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 1973 at the first Television practice in a loft in New York.
I was working on the sitar 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 Kerrie Biddell to the rap kids.
I played it at the Roxy.
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 West Coast Pop Art Experimental Band. All the underground hits.
All This Heat tracks. I heard you have a vinyl of every Quadrant record on German import.
I heard that you have a white label of every seminal rock 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 chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Soul Sonic Force record.
I hear that you and your band have sold your rhodes and bought a marimba.
I hear that you and your band have sold your marimba and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Avey Tare's Slasher Flicks,
Crispian St. Peters,
Subhumans,
Johnny Osbourne,
Captain Beefheart & His Magic Band,
Rhythm & Sound,
The Techniques,
Von Mondo,
Siglo XX,
Anakelly,
Slave,
Dead Boys,
The Last Poets,
Theoretical Girls,
John Lydon,
Fat Boys,
The Dirtbombs,
Kool G Rap & DJ Polo,
Gil Scott-Heron and Jamie xx,
Grandmaster Flash and the Furious Five,
Minor Threat,
Kerrie Biddell,
Pussy Galore,
MDC,
Archie Shepp,
Rosa Yemen,
Jawbox,
Cabaret Voltaire,
MC5,
Rhythim Is Rhythim,
Rowland S Howard / Lydia Lunch,
Excepter,
Alphaville,
R.M.O.,
It's A Beautiful Day,
Amazonics,
Quantec,
Eric Dolphy,
Peter Gordon & Love of Life Orchestra,
Jeff Lynne,
EPMD,
Red Lorry Yellow Lorry,
The Busters,
Soft Machine,
Masters at Work,
The Misunderstood,
Dave Gahan,
Thee Headcoats,
Essential Logic,
Lakeside,
Janne Schatter,
Ponytail,
New Order,
Easy Going,
The Toasters,
Los Fastidios,
Glambeats Corp.,
Youth Brigade,
Liliput,
Grey Daturas,
Laurel Aitken,
Bob Dylan,
The Tremeloes, The Tremeloes, The Tremeloes, The Tremeloes.
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.