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 Portland.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Philadelphia and Shanghai.
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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the theremin 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 Radio Birdman to the rock kids.
I played it at the Hacienda.
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 Adolescents. All the underground hits.
All Man Eating Sloth tracks. I heard you have a vinyl of every Fluxion 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 '70s cut and another box set from the '80s.
I hear you're buying a rhodes and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Standells record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
World's Most,
Eurythmics,
Japan,
Nils Olav,
Althea and Donna,
The Divine Comedy,
the Association,
Cameo,
The Seeds,
Scrapy,
Mantronix,
Ten City,
Popol Vuh,
Marc Almond,
F. McDonald,
Albert Ayler,
Oppenheimer Analysis,
Scion,
Drexciya,
The Blues Magoos,
Gian Franco Pienzio,
Ronnie Foster,
Peter & Gordon,
Neu!,
Sixth Finger,
These Immortal Souls,
Bootsy Collins,
Gil Scott-Heron and Jamie xx,
Index,
Section 25,
The Red Krayola,
Colin Newman,
Ralphi Rosario,
Arthur Verocai,
Rhythim Is Rhythim,
Radio Birdman,
Faraquet,
Scan 7,
Soft Machine,
CMW,
The Dirtbombs,
The Standells,
LL Cool J,
Magazine,
Tim Buckley,
Ajijia Myrayebe,
The Selecter,
Glenn Branca,
Liaisons Dangereuses,
Echospace,
Public Enemy,
Second Layer,
The American Breed,
Godley & Creme,
Man Parrish,
Barrington Levy,
Ultramagnetic MC's,
Banda Bassotti,
Rufus Thomas,
Mo-Dettes,
The Zeros, The Zeros, The Zeros, The Zeros.
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.