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 Madagascar and from Lagos.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Halifax and Jakarta.
I'm losing my edge to the art-school Houston 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 güiro sounds with much patience.
I was there when David Bowie 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 Kurtis Blow to the electroclash 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 Tim Buckley. All the underground hits.
All Inner City tracks. I heard you have a vinyl of every The Dirtbombs record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a synthesizer and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a KRS-One record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Reed & Metallica,
Nils Olav,
Bobby Sherman,
Can,
Juan Atkins,
Prince Buster,
Eurythmics,
Supertramp,
The Gories,
It's A Beautiful Day,
Bauhaus,
The Victims,
Amon Düül II,
Ituana,
Zero Boys,
Bronski Beat,
John Foxx,
Ash Ra Tempel,
Scratch Acid,
Excepter,
Q65,
James White and The Blacks,
Cal Tjader,
Adolescents,
Sonic Youth,
Brothers Johnson,
The Angels of Light,
The Last Poets,
Gil Scott-Heron and Jamie xx,
The Five Americans,
Mr. Review,
The Dead C,
The Doors,
Matthew Bourne,
Cybotron,
Parry Music,
The Trojans,
Nation of Ulysses,
Pharoah Sanders,
Jacques Brel,
Delta 5,
Talk Talk,
Eve St. Jones,
Pet Shop Boys,
Kenny Larkin,
U.S. Maple,
Stockholm Monsters,
The Gladiators,
Ronan,
Fifty Foot Hose,
James Chance & The Contortions,
Shoche,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Rhythm & Sound,
Chrome,
Bill Wells,
Tim Buckley,
Black Bananas,
Robert Wyatt,
Peter and Kerry,
Tom Boy,
Harmonia,
Kool G Rap & DJ Polo,
Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft.
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.