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 St Lucia and from Madrid.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Lille and Paris.
I'm losing my edge to the art-school Philadelphia 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 David Bowie 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 Ultimate Spinach to the grunge kids.
I played it at the Hacienda.
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 Sisters of Mercy. All the underground hits.
All Peter & Gordon tracks. I heard you have a vinyl of every Sly & The Family Stone 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 '60s cut and another box set from the '70s.
I hear you're buying a rhodes and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a the Slits record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deepchord,
Gregory Isaacs,
Pulsallama,
Visage,
Joyce Sims,
Country Teasers,
Scott Walker,
Patti Smith,
Young Marble Giants,
Röyhkä ja Rättö ja Lehtisalo,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Roy Ayers,
DJ Sneak,
Negative Approach,
the Swans,
the Association,
Pete Rock & C.L. Smooth,
Bootsy Collins,
Boogie Down Productions,
The Residents,
Scion,
Bobby Womack,
Sun Ra Arkestra,
Erykah Badu,
Mars,
Avey Tare & Kría Brekkan,
Pussy Galore,
The Cramps,
Symarip,
Liliput,
The Remains,
Curtis Mayfield,
Gichy Dan,
The Sisters of Mercy,
Carl Craig,
Von Mondo,
The Red Krayola,
Visionaries,LMNO, T- Love & Iriscience,
A Certain Ratio,
Liaisons Dangereuses,
Lakeside,
Pet Shop Boys,
The Dead C,
Goldenarms,
Television,
Drexciya,
Pierre Henry,
The Dave Clark Five,
Camouflage,
Mandrill,
T. Rex,
Mantronix,
Easy Going,
Pantytec,
Jerry Gold Smith,
Ten City,
Red Lorry Yellow Lorry,
Rhythm & Sound,
Gil Scott-Heron and Jamie xx,
Sex Pistols,
Basic Channel,
Dawn Penn,
The American Breed, The American Breed, The American Breed, The American Breed.
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.