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 Nepal and from Toronto.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Calgary and Shanghai.
I'm losing my edge to the art-school Edmonton 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 oboe sounds with much patience.
I was there when Lou Reed 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 Dual Sessions to the crunk kids.
I played it at the Crocodile.
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 Ajijia Myrayebe. All the underground hits.
All Interpol tracks. I heard you have a vinyl of every The Last Poets record on German import.
I heard that you have a white label of every seminal funk 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 a harpsichord and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a JFA record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Moby Grape,
the Sonics,
James Chance & The Contortions,
Kevin Saunderson,
Make Up,
Lonnie Liston Smith,
Matthew Bourne,
The Grass Roots,
Rowland S Howard / Lydia Lunch,
Bill Near,
LL Cool J,
Brick,
Television Personalities,
Banda Bassotti,
Toni Rubio,
The Fuzztones,
The Monochrome Set,
Masters at Work,
The Stooges,
The Saints,
The Cure,
Vladislav Delay,
the Soft Cell,
This Heat,
Avey Tare's Slasher Flicks,
The Barracudas,
MDC,
The Zeros,
Marmalade,
The Detroit Cobras,
Bobbi Humphrey,
Pulsallama,
Ludus,
Aaron Thompson,
Isaac Hayes,
Sällskapet,
Bobby Womack,
Kool Moe Dee,
Crispian St. Peters,
Lizzy Mercier Descloux,
Ossler,
Siglo XX,
Bootsy's Rubber Band,
The Blues Magoos,
Reuben Wilson,
Sunsets and Hearts,
Arab on Radar,
Derrick Morgan,
Radiohead,
Archie Shepp,
Flipper,
the Swans,
Scott Walker + Sunn O))),
Brass Construction,
Warren Ellis,
Kenny Larkin,
Erykah Badu,
Scion,
Mars,
D'Angelo,
ABC,
The Misunderstood,
Rhythim Is Rhythim,
Fear, Fear, Fear, Fear.
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.