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 Niger and from Bremen.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Madrid and Bremen.
I'm losing my edge to the art-school Stockholm 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the 808 sounds with much patience.
I was there when Robert Palmer 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 Dorothy Ashby to the grime kids.
I played it at the Astoria.
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 John Holt. All the underground hits.
All Audionom tracks. I heard you have a vinyl of every Laurel Aitken record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Porter Ricks 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?
The Walker Brothers,
Wings,
The Beau Brummels,
Animal Collective,
Eric Copeland,
New York Dolls,
Barbara Tucker,
Quando Quango,
Magazine,
Scientists,
Prince Buster,
Bad Manners,
The Zeros,
The Slits,
Wire,
Glenn Branca,
Public Image Ltd.,
Kool Moe Dee,
Freddie Wadling,
Ash Ra Tempel,
Selector Dub Narcotic,
The J.B.'s,
Fela Kuti,
the Swans,
The Knickerbockers,
Lightning Bolt,
Yazoo,
Echo & the Bunnymen,
Mandrill,
Thinking Fellers Union Local 282,
Harpers Bizarre,
Pet Shop Boys,
Chrome,
Accadde A,
cv313,
Thee Headcoats,
The Litter,
Kings Of Tomorrow,
Joy Division,
Smog,
Iggy Pop,
Excepter,
James Chance & The Contortions,
JFA,
Sam Rivers,
Sugar Minott,
Heaven 17,
Peter Gordon & Love of Life Orchestra,
The Cure,
Lakeside,
Jesper Dahlback,
Aural Exciters,
Bootsy Collins,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
The Doors,
Richard Hell and the Voidoids,
Quantec,
The Moody Blues,
The Detroit Cobras,
The Mummies,
Cal Tjader, Cal Tjader, Cal Tjader, Cal Tjader.
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.