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 India and from Jakarta.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Shanghai and Seoul.
I'm losing my edge to the art-school Mumbai 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 chamberlin 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 Ultramagnetic MC's to the rap kids.
I played it at the Crocodile.
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 Ponytail. All the underground hits.
All The Five Americans tracks. I heard you have a vinyl of every Khruangbin record on German import.
I heard that you have a white label of every seminal rap 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 guitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Echo & the Bunnymen record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Negative Approach,
Faust,
The Jesus and Mary Chain,
Franke,
Young Marble Giants,
David Axelrod,
These Immortal Souls,
Throbbing Gristle,
Sarah Menescal,
Letta Mbulu,
Sight & Sound,
Gil Scott-Heron and Jamie xx,
Barry Ungar,
Ultramagnetic MC's,
Quadrant,
Bauhaus,
Cabaret Voltaire,
New Age Steppers,
The Golliwogs,
Lafayette Afro Rock Band,
Average White Band,
John Foxx,
the Germs,
Alison Limerick,
Dark Day,
The Smiths,
Thinking Fellers Union Local 282,
Pulsallama,
Bluetip,
The Gories,
Bobby Hutcherson,
Fluxion,
Man Eating Sloth,
CMW,
FM Einheit,
Terry Callier,
Laurel Aitken,
Lindisfarne,
Strawberry Alarm Clock,
Bizarre Inc.,
The Dave Clark Five,
the Human League,
Prince Buster,
The New Christs,
Chris Corsano,
Kool G Rap & DJ Polo,
Connie Case,
Crispian St. Peters,
Audionom,
June Days,
Minutemen,
Basic Channel,
Scan 7,
Minny Pops,
New York Dolls,
Lonnie Liston Smith,
Aural Exciters,
MC5,
Babytalk,
Kerri Chandler,
Sun Ra Arkestra,
Gerry Rafferty, Gerry Rafferty, Gerry Rafferty, Gerry Rafferty.
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.