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 Mozambique and from Johannesburg.
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 1964 to 1970.
I'm losing my edge.
To all the kids in New York and Milan.
I'm losing my edge to the art-school Jakarta 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 chamberlin 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 The Buckinghams to the funk kids.
I played it at the Crocodile.
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 Boredoms. All the underground hits.
All Marcia Griffiths tracks. I heard you have a vinyl of every Urselle 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 '80s cut and another box set from the '90s.
I hear you're buying a synthesizer and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Dual Sessions record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Andrew Hill,
PIL,
The Leaves,
Freddie Wadling,
the Association,
Neu!,
June Days,
Notorious Big And Bone Thugs,
Max Romeo,
Spandau Ballet,
Deadbeat,
Wasted Youth,
Arthur Verocai,
Arab on Radar,
The Offenders,
Rapeman,
Man Parrish,
the Slits,
Procol Harum,
The Moleskins,
Hasil Adkins,
Röyhkä ja Rättö ja Lehtisalo,
Lebanon Hanover,
Maurizio,
the Swans,
Sarah Menescal,
Angels of Light & Akron/Family,
The Pretty Things,
Massinfluence,
EPMD,
Marvin Gaye,
48th St. Collective,
Johnny Osbourne,
Bobby Hutcherson,
Fatback Band,
F. McDonald,
Gong,
Byron Stingily,
Hardrive,
Quando Quango,
London Community Gospel Choir,
Jandek,
Royal Trux,
Thompson Twins,
Alison Limerick,
The Gun Club,
The Real Kids,
Silicon Teens,
Cheater Slicks,
Fat Boys,
Ultimate Spinach,
Connie Case,
Ajijia Myrayebe,
Arcadia,
The Searchers,
The Selecter,
Barry Ungar,
Anthony Braxton,
These Immortal Souls,
Stereo Dub, Stereo Dub, Stereo Dub, Stereo Dub.
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.