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 Gambia and from New York.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1965 to 1975.
I'm losing my edge.
To all the kids in Lagos and Beijing.
I'm losing my edge to the art-school Woodstock 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 mellotron 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 Sarah Menescal to the rock 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 Television. All the underground hits.
All Spandau Ballet tracks. I heard you have a vinyl of every Faraquet record on German import.
I heard that you have a white label of every seminal crunk 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 snare and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Rapeman record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Los Fastidios,
Ajijia Myrayebe,
Davy DMX,
Main Source,
Be Bop Deluxe,
New York Dolls,
Gang Green,
The Mighty Diamonds,
The Alarm Clocks,
The Techniques,
Adolescents,
Max Romeo,
Stockholm Monsters,
MC5,
Minnie Riperton,
Marine Girls,
Sister Nancy,
Index,
Qualms,
Cabaret Voltaire,
Neil Young & Crazy Horse,
A Certain Ratio,
Urselle,
the Slits,
Ituana,
Marcia Griffiths,
Althea and Donna,
Gang of Four,
Bobby Byrd,
Hardrive,
Duran Duran,
The Busters,
Marc Almond,
Fat Boys,
Sexual Harrassment,
The Monochrome Set,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Ash Ra Tempel,
Crash Course in Science,
Idris Muhammad,
Anthony Braxton,
The Cosmic Jokers,
Dark Day,
New Order,
Lee Hazlewood,
Donald Byrd,
N.O.R.E. Featuring Pharrell,
Teenage Jesus and the Jerks,
Peter & Gordon,
Rahsaan Roland Kirk,
the Normal,
Slave,
The Dave Clark Five,
Inner City,
Von Mondo,
Monolake,
8 Eyed Spy,
Essential Logic,
Bootsy Collins,
Sun Ra Arkestra,
The Young Rascals,
The American Breed,
Nas, Nas, Nas, Nas.
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.