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 Libya and from Stockholm.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1970.
I'm losing my edge.
To all the kids in New York and Johannesburg.
I'm losing my edge to the art-school Jakarta 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 linndrum 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 Grey Daturas to the funk kids.
I played it at Trash.
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 Victims. All the underground hits.
All Mary Jane Girls tracks. I heard you have a vinyl of every KRS-One 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 '80s cut and another box set from the '90s.
I hear you're buying a mellotron and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a the Soft Cell record.
I hear that you and your band have sold your spring reverb and bought a güiro.
I hear that you and your band have sold your güiro and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Little Man,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Fugazi,
Essential Logic,
Cecil Taylor,
Ossler,
The Smiths,
Bob Dylan,
8 Eyed Spy,
John Lydon,
Dorothy Ashby,
Robert Wyatt,
Jeff Mills,
Ohio Players,
Shoche,
Toni Rubio,
Gil Scott Heron,
Niagra,
Mandrill,
PIL,
Motorama,
The Gun Club,
Andrew Hill,
Adolescents,
Fela Kuti,
It's A Beautiful Day,
Blake Baxter,
The Doors,
Sixth Finger,
Lonnie Liston Smith,
Wolf Eyes,
Graham Central Station,
Nas,
Dual Sessions,
Marmalade,
Spandau Ballet,
Delon & Dalcan,
Bootsy's Rubber Band,
Magazine,
The Raincoats,
The Happenings,
OOIOO,
Lizzy Mercier Descloux,
Agitation Free,
The Moody Blues,
The Cramps,
Popol Vuh,
Johnny Clarke,
T. Rex,
Urselle,
Loose Ends,
Lindisfarne,
The United States of America,
Moss Icon,
Mantronix,
Severed Heads,
The Five Americans,
Electric Light Orchestra,
Eyeless In Gaza,
Röyhkä ja Rättö ja Lehtisalo,
Make Up,
The Vogues, The Vogues, The Vogues, The Vogues.
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.