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 Comoros and from Lille.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Accra and Manila.
I'm losing my edge to the art-school Spokane 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 theremin sounds with much patience.
I was there when Lou Reed 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 Arab on Radar to the funk 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 Arthur Verocai. All the underground hits.
All Iggy Pop tracks. I heard you have a vinyl of every Motorama record on German import.
I heard that you have a white label of every seminal grime 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 guitar and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Negative Approach record.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Pop Group,
Harpers Bizarre,
Fela Kuti,
Todd Rundgren,
Gian Franco Pienzio,
D'Angelo,
Technova,
A Certain Ratio,
Bang On A Can,
Black Sheep,
Bang on a Can All-Stars,
Rakim,
Strawberry Alarm Clock,
Nik Kershaw,
Boogie Down Productions,
The United States of America,
the Sonics,
Wire,
Goldenarms,
Dorothy Ashby,
Avey Tare & Kría Brekkan,
The Doors,
Zapp,
Tears for Fears,
Rites of Spring,
Con Funk Shun,
Subhumans,
Duran Duran,
the Germs,
Tubeway Army,
Connie Case,
KRS-One,
Cecil Taylor,
Scrapy,
The Count Five,
Average White Band,
Shoche,
Glambeats Corp.,
Hardrive,
Rhythm & Sound,
Be Bop Deluxe,
Q and Not U,
Johnny Clarke,
Gang Starr,
U.S. Maple,
Sarah Menescal,
The Toasters,
Ludus,
Rotary Connection,
Can,
Pierre Henry,
Juan Atkins,
Gerry Rafferty,
Joy Division,
Lee Hazlewood,
Black Flag,
Rosa Yemen,
Pete Rock & C.L. Smooth,
Monolake,
Marshall Jefferson, Marshall Jefferson, Marshall Jefferson, Marshall Jefferson.
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.