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 Benin and from Bremen.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Winnipeg and Accra.
I'm losing my edge to the art-school Tokyo 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the chamberlin 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 MDC to the funk kids.
I played it at the Hacienda.
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 Brand Nubian. All the underground hits.
All Quadrant tracks. I heard you have a vinyl of every John Holt record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a theremin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Sister Nancy record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord 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?
The Black Dice,
Rahsaan Roland Kirk,
The Alarm Clocks,
Lindisfarne,
Hasil Adkins,
Stereo Dub,
Rotary Connection,
Television,
Graham Central Station,
Teenage Jesus and the Jerks,
Louis and Bebe Barron,
The Electric Prunes,
Dead Boys,
Nils Olav,
Gil Scott-Heron and Jamie xx,
Al Stewart,
Bob Dylan,
Nick Fraelich,
Bad Manners,
Shoche,
FM Einheit,
Thee Headcoats,
The Count Five,
Mr. Review,
Scott Walker,
Newcleus,
Flash Fearless,
The Seeds,
Bush Tetras,
Dual Sessions,
Theoretical Girls,
Funkadelic,
Crispy Ambulance,
Yusef Lateef,
Arab on Radar,
Soulsonic Force,
Lou Reed,
Todd Rundgren,
Röyhkä ja Rättö ja Lehtisalo,
Richard Hell and the Voidoids,
Negative Approach,
Technova,
the Soft Cell,
Crispian St. Peters,
Lizzy Mercier Descloux,
Lucky Dragons,
Don Cherry,
Outsiders,
Roy Ayers Ubiquity,
Ajijia Myrayebe,
Dark Day,
Danielle Patucci,
La Düsseldorf,
Girls At Our Best!,
Suburban Knight,
UT,
Red Lorry Yellow Lorry,
Maurizio,
Lebanon Hanover,
Jeff Mills,
Tom Boy,
Mary Jane Girls,
Avey Tare,
The Skatalites, The Skatalites, The Skatalites, The Skatalites.
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.