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 Dominica and from Manchester.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Sao Paulo and Portland.
I'm losing my edge to the art-school Lagos 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 sitar 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 Masters at Work to the jazz kids.
I played it at CBGB's.
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 Tim Buckley. All the underground hits.
All Sandy B tracks. I heard you have a vinyl of every Drive Like Jehu record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a sitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a kango's stein massive record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cameo,
Bad Manners,
Basic Channel,
Spoonie Gee,
Lou Reed,
Massinfluence,
Mad Mike,
In Retrospect,
Reagan Youth,
the Bar-Kays,
Scott Walker + Sunn O))),
Cluster,
The New Christs,
Althea and Donna,
Slave,
The Golliwogs,
Sun City Girls,
Jacob Miller,
Liaisons Dangereuses,
T.S.O.L.,
Sticky Fingaz feat. Raekwon,
Jerry Gold Smith,
Popol Vuh,
Andrew Hill,
Ultramagnetic MC's,
Patti Smith,
Rosa Yemen,
Can,
Richard Hell and the Voidoids,
Pharoah Sanders,
Dorothy Ashby,
Supertramp,
Quantec,
Marvin Gaye,
Andrew Ashong & Theo Parrish,
Television,
Avey Tare & Kría Brekkan,
The Associates,
The Fugs,
Scion,
Gong,
Dead Boys,
Japan,
Pantytec,
James White and The Blacks,
Louis and Bebe Barron,
Intrusion,
Sonic Youth,
Big Daddy Kane,
The Techniques,
Moss Icon,
Josef K,
Babytalk,
Mary Jane Girls,
Rotary Connection,
Bobbi Humphrey,
Adolescents,
Gang Starr,
Unrelated Segments,
Beasts of Bourbon, Beasts of Bourbon, Beasts of Bourbon, Beasts of Bourbon.
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.