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 United Kingdom and from Manchester.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1973.
I'm losing my edge.
To all the kids in Paris and Columbus.
I'm losing my edge to the art-school Delhi 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 spring reverb sounds with much patience.
I was there when Captain Beefheart 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 Roxette to the rock 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 Angry Samoans. All the underground hits.
All Althea and Donna tracks. I heard you have a vinyl of every Zapp record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a synthesizer and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Isaac Hayes record.
I hear that you and your band have sold your theremin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
This Heat,
Liaisons Dangereuses,
Rakim,
Monolake,
Basic Channel,
Absolute Body Control,
Scott Walker,
Freddie Wadling,
DNA,
DJ Sneak,
Nas,
Kevin Saunderson,
Letta Mbulu,
Marc Almond,
Tim Buckley,
Danielle Patucci,
Barrington Levy,
Alton Ellis,
Ultra Naté,
Sun City Girls,
Dave Gahan,
Ornette Coleman,
Bauhaus,
Piero Umiliani,
Kas Product,
Siglo XX,
Kango’s Stein Massive,
Monks,
Bootsy's Rubber Band,
Dorothy Ashby,
Aural Exciters,
KRS-One,
Funky Four + One,
The Monochrome Set,
the Slits,
Saccharine Trust,
Dennis Brown,
It's A Beautiful Day,
Henry Cow,
Donald Byrd,
Anthony Braxton,
Sonic Youth,
Trumans Water,
The Moleskins,
Wire,
Bobbi Humphrey,
The Victims,
The Knickerbockers,
Peter & Gordon,
Scratch Acid,
Rod Modell,
Carl Craig,
Magazine,
World's Most,
Man Eating Sloth,
Con Funk Shun,
Al Stewart,
Qualms,
Little Man,
The Walker Brothers,
Dead Boys, Dead Boys, Dead Boys, Dead Boys.
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.