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 Malaysia and from Sao Paulo.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Seoul and Portland.
I'm losing my edge to the art-school Milan 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 808 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 Public Image Ltd. to the techno 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 Kaleidoscope. All the underground hits.
All Minor Threat tracks. I heard you have a vinyl of every Mary Jane Girls record on German import.
I heard that you have a white label of every seminal techno 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 linndrum and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Fugs record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Al Stewart,
Procol Harum,
The American Breed,
Chris & Cosey,
Ajijia Myrayebe,
John Lydon,
KRS-One,
Kayak,
Zapp,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Davy DMX,
The Cosmic Jokers,
Radiopuhelimet,
Half Japanese,
Newcleus,
Mary Jane Girls,
Public Image Ltd.,
Electric Prunes,
Reagan Youth,
Jerry's Kids,
Kool Moe Dee,
Public Enemy,
Derrick May,
FM Einheit,
Fat Boys,
James White and The Blacks,
Fad Gadget,
Avey Tare & Kría Brekkan,
Gerry Rafferty,
Gregory Isaacs,
John Coltrane,
Donny Hathaway,
The Monks,
Franke,
Eve St. Jones,
Ultra Naté,
the Germs,
The Selecter,
The Associates,
UT,
Trumans Water,
The Birthday Party,
The Sonics,
Blossom Toes,
The Count Five,
China Crisis,
Ice-T,
Ultimate Spinach,
Ludus,
Judy Mowatt,
Fugazi,
Cabaret Voltaire,
Radiohead,
David Axelrod,
The Offenders,
Stereo Dub,
Section 25,
Ohio Players,
Kool G Rap & DJ Polo,
Leonard Cohen,
Crispian St. Peters,
Rhythim Is Rhythim,
Monks, Monks, Monks, Monks.
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.