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 United Kingdom and from Tokyo.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Copenhagen and Delhi.
I'm losing my edge to the art-school Philadelphia 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 snare 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 the Swans to the rock 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 Au Pairs. All the underground hits.
All Godley & Creme tracks. I heard you have a vinyl of every The Associates 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 '60s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Invisible record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Schoolly D,
Kool G Rap & DJ Polo,
Yellowson,
the Association,
Stetsasonic,
Teenage Jesus and the Jerks,
Vainqueur,
Scan 7,
Fifty Foot Hose,
MC5,
Peter Gordon & Love of Life Orchestra,
Nirvana,
Nik Kershaw,
EPMD,
Shoche,
DJ Style,
Johnny Osbourne,
Dawn Penn,
Justin Hinds & The Dominoes,
Masters at Work,
Marine Girls,
Deepchord,
Basic Channel,
the Germs,
John Holt,
James Chance & The Contortions,
Sun City Girls,
Jeff Mills,
The Modern Lovers,
Joey Negro,
Camouflage,
Blake Baxter,
The Vogues,
The Remains,
Archie Shepp,
Excepter,
Monks,
Roxette,
Todd Terry,
Youth Brigade,
Mo-Dettes,
Rosa Yemen,
Khruangbin,
Supertramp,
CMW,
Ralphi Rosario,
Lalo Schifrin,
Kings Of Tomorrow,
Ponytail,
Alison Limerick,
Peter & Gordon,
Sexual Harrassment,
Bobby Hutcherson,
Brand Nubian,
De La Soul & Jungle Brothers,
Grey Daturas,
Can,
Charles Mingus,
Fela Kuti,
The Martian,
Tears for Fears,
The Cramps, The Cramps, The Cramps, The Cramps.
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.