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 Mexico and from Portland.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Mexico City and Taipei.
I'm losing my edge to the art-school Woodstock 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 1976 at the first Chic practice in a loft in New York.
I was working on the sitar sounds with much patience.
I was there when Robert Palmer 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 Patti Smith to the rap kids.
I played it at the Astoria.
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 New Age Steppers. All the underground hits.
All James Chance & The Contortions tracks. I heard you have a vinyl of every Average White Band 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 '60s cut and another box set from the '80s.
I hear you're buying a rhodes and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a the Swans record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rahsaan Roland Kirk,
Chris & Cosey,
The Selecter,
Junior Murvin,
Reuben Wilson,
EPMD,
Oblivians,
World's Most,
The Doors,
The Monochrome Set,
Minutemen,
Magazine,
Blake Baxter,
Jerry's Kids,
Whodini,
Parry Music,
The Monks,
Ludus,
Nas,
Carl Craig,
Cluster,
Scott Walker,
The Moleskins,
Sun City Girls,
Black Pus,
Surgeon,
The Move,
Ultravox,
Arab on Radar,
Pole,
Adolescents,
James White and The Blacks,
Agent Orange,
Masters at Work,
Soft Machine,
Vaughan Mason & Crew,
Robert Wyatt,
Eve St. Jones,
Slick Rick,
The Blues Magoos,
Franke,
Amazonics,
Minnie Riperton,
Boogie Down Productions,
Altered Images,
The Electric Prunes,
Dr. Dre and Snoop Doggy Dog,
Oneida,
Crime,
The Last Poets,
Aloha Tigers,
The Real Kids,
Urselle,
Icehouse,
The Gap Band,
Strawberry Alarm Clock,
Arcadia,
MC5,
Dave Gahan,
Wighnomy Brothers & Robag Wruhme,
The Motions,
Lizzy Mercier Descloux,
Chris Corsano, Chris Corsano, Chris Corsano, Chris Corsano.
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.