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 Gambia and from Tehran.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1973.
I'm losing my edge.
To all the kids in Tokyo and Shanghai.
I'm losing my edge to the art-school Lyon 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 guitar 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 Surgeon to the crunk kids.
I played it at the Spitz.
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 Yellowson. All the underground hits.
All London Community Gospel Choir tracks. I heard you have a vinyl of every Adolescents record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Max Romeo record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Grey Daturas,
E-Dancer,
Mo-Dettes,
48th St. Collective,
It's A Beautiful Day,
Amon Düül II,
Peter & Gordon,
Johnny Osbourne,
Cluster,
Main Source,
Kenny Larkin,
Ituana,
Metal Thangz,
Sunsets and Hearts,
Jimmy McGriff,
Chrome,
Throbbing Gristle,
Cymande,
Traffic Nightmare,
Vladislav Delay,
Arab on Radar,
Easy Going,
Make Up,
Royal Trux,
Tres Demented,
Quando Quango,
The Gun Club,
Mandrill,
The Smoke,
Outsiders,
Jeru the Damaja,
Frankie Knuckles,
Grandmaster Flash,
Organ,
Marc Romboy vs. Booka Shade,
The West Coast Pop Art Experimental Band,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Velvet Underground,
Kango’s Stein Massive,
Graham Central Station,
Little Man,
Gabor Szabo,
The Pretty Things,
Index,
The Monks,
Duran Duran,
The Birthday Party,
New Order,
Bang on a Can All-Stars,
Suicide,
Subhumans,
Pulsallama,
Adolescents,
The Happenings,
Marmalade,
Deutsch Amerikanische Freundschaft,
The Victims,
Faust,
Fifty Foot Hose,
Derrick May,
Sandy B, Sandy B, Sandy B, Sandy B.
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.