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 Kazakhstan and from Woodstock.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Johannesburg and Johannesburg.
I'm losing my edge to the art-school Copenhagen 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 mellotron 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 Isaac Hayes to the rock 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 Mummies. All the underground hits.
All The Music Machine tracks. I heard you have a vinyl of every Visage record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a rhodes and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Scratch Acid record.
I hear that you and your band have sold your theremin and bought a guitar.
I hear that you and your band have sold your guitar and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dual Sessions,
Gastr Del Sol,
Piero Umiliani,
Television,
Interpol,
Fugazi,
Dorothy Ashby,
the Slits,
The Busters,
Rod Modell,
Pantaleimon,
Sun Ra,
Minutemen,
Byron Stingily,
Amon Düül II,
Ponytail,
The Alarm Clocks,
the Sonics,
Pharoah Sanders,
Main Source,
The Fortunes,
Mark Hollis,
Grandmaster Flash,
Alice Coltrane,
David Bowie,
Rufus Thomas,
Tears for Fears,
Arthur Verocai,
Procol Harum,
Lou Reed,
Be Bop Deluxe,
Notorious Big And Bone Thugs,
Jeff Lynne,
Porter Ricks,
The Martian,
Camberwell Now,
Alison Limerick,
Pere Ubu,
Amazonics,
Junior Murvin,
The Pretty Things,
Derrick Morgan,
The Evens,
Notorious BIG live in Amsterdam,
Boogie Down Productions,
Eyeless In Gaza,
Roxette,
Outsiders,
Electric Prunes,
Joensuu 1685,
H. Thieme,
Black Flag,
Marshall Jefferson,
Andrew Hill,
Davy DMX,
Qualms,
Rahsaan Roland Kirk,
Lyres,
The Vogues,
The Selecter, The Selecter, The Selecter, The Selecter.
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.