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 Kenya and from Philadelphia.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1965 to 1978.
I'm losing my edge.
To all the kids in London and Sao Paulo.
I'm losing my edge to the art-school Sao Paulo 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 chamberlin sounds with much patience.
I was there when Donald Fagen 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 Johnny Clarke to the punk kids.
I played it at the 40 Watt.
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 Darondo. All the underground hits.
All Spandau Ballet tracks. I heard you have a vinyl of every June of 44 record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying an organ and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Mary Jane Girls record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Bar-Kays,
Quantec,
The Grass Roots,
Jawbox,
the Association,
Maurizio,
The Standells,
Porter Ricks,
Bizarre Inc.,
The Busters,
Bauhaus,
Delon & Dalcan,
Al Stewart,
Gichy Dan,
Peter Gordon & Love of Life Orchestra,
Harry Pussy,
Wire,
Wighnomy Brothers & Robag Wruhme,
Bobby Byrd,
The Flesh Eaters,
The Beau Brummels,
Jesper Dahlbäck,
Country Joe & The Fish,
Magazine,
David McCallum,
June Days,
Main Source,
Neu!,
The Five Americans,
Henry Cow,
The New Christs,
PIL,
Kauko Röyhkä ja Narttu,
Talk Talk,
8 Eyed Spy,
The Dirtbombs,
Drexciya,
Lou Reed & John Cale,
Kas Product,
Kurtis Blow,
Rhythm & Sound,
The Gladiators,
Country Teasers,
Kayak,
Sex Pistols,
Stockholm Monsters,
Oneida,
Dark Day,
Joey Negro,
Eric B and Rakim,
The Leaves,
Y Pants,
Model 500,
Kevin Saunderson,
Carl Craig,
The Martian,
Electric Prunes,
Pussy Galore,
Circle Jerks,
Flamin' Groovies,
Albert Ayler,
Camron Feat. Memphis Bleek And Beenie Seigel,
Simply Red, Simply Red, Simply Red, Simply Red.
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.