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 Eritrea and from Salvador.
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 1963 to 1979.
I'm losing my edge.
To all the kids in Woodstock and Bologna.
I'm losing my edge to the art-school Shanghai 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 at the first Suicide practice in a loft in New York.
I was working on the rhodes 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 Minny Pops to the techno 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 Marvin Gaye. All the underground hits.
All Hasil Adkins tracks. I heard you have a vinyl of every Supertramp 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 '50s cut and another box set from the '70s.
I hear you're buying a theremin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Funkadelic record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Associates,
Masters at Work,
Lonnie Liston Smith,
Ronan,
Von Mondo,
Lou Reed & Metallica,
Aswad,
R.M.O.,
Deadbeat,
Rufus Thomas,
The Standells,
Kaleidoscope,
Roy Ayers Ubiquity,
Quantec,
Tom Boy,
Easy Going,
Gary Puckett & The Union Gap,
Jeff Mills,
Beasts of Bourbon,
Urselle,
Kool G Rap & DJ Polo,
Agent Orange,
The Smoke,
The Dirtbombs,
The Tremeloes,
Sugar Minott,
Hardrive,
The Divine Comedy,
Ten City,
B.T. Express,
Röyhkä ja Rättö ja Lehtisalo,
Terrestrial Tones,
Drexciya,
Crispy Ambulance,
Carl Craig,
Gerry Rafferty,
Magazine,
Bootsy's Rubber Band,
48th St. Collective,
Alton Ellis,
Mo-Dettes,
Avey Tare's Slasher Flicks,
T.S.O.L.,
John Holt,
Sandy B,
Schoolly D,
The Alarm Clocks,
Bobby Byrd,
Idris Muhammad,
Outsiders,
Donald Byrd,
Unrelated Segments,
The J.B.'s,
Louis and Bebe Barron,
Moss Icon,
Barbara Tucker,
The Grass Roots,
Wire,
Eddi Front,
Joy Division,
Flamin' Groovies,
Susan Cadogan, Susan Cadogan, Susan Cadogan, Susan Cadogan.
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.