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 Venezuela and from Lyon.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Sao Paulo 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 1976 at the first Chic practice in a loft in New York.
I was working on the arpeggiator sounds with much patience.
I was there when Captain Beefheart 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 Slits to the rap kids.
I played it at the Spitz.
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 Lalo Schifrin. All the underground hits.
All Michelle Simonal tracks. I heard you have a vinyl of every Donald Byrd record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a sitar and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Grandmaster Flash record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott-Heron & Brian Jackson,
John Foxx,
Chris Corsano,
Sunsets and Hearts,
Terror Squad Feat. Camron,
Con Funk Shun,
Marshall Jefferson,
Toni Rubio,
John Holt,
Pharoah Sanders,
Crime,
Matthew Bourne,
The Remains,
The United States of America,
Kauko Röyhkä ja Narttu,
Anakelly,
Man Parrish,
The Residents,
Minny Pops,
Bobbi Humphrey,
Ludus,
Dorothy Ashby,
Amon Düül II,
R.M.O.,
Delon & Dalcan,
James Chance & The Contortions,
Essential Logic,
Glambeats Corp.,
Sarah Menescal,
Can,
DeepChord presents Echospace,
Ornette Coleman,
Accadde A,
Das Ding,
Max Romeo,
The Knickerbockers,
Average White Band,
Smog,
Model 500,
UT,
Marine Girls,
The Jesus and Mary Chain,
Buzzcocks,
Black Flag,
T.S.O.L.,
Metal Thangz,
Scion,
Newcleus,
Bill Near,
Chris & Cosey,
Sugar Minott,
Scrapy,
DNA,
Sly & The Family Stone,
Country Joe & The Fish,
Charles Mingus,
Gerry Rafferty,
Drexciya,
Colin Newman,
Orchestral Manoeuvres in the Dark,
Q65, Q65, Q65, Q65.
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.