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 Nauru and from Johannesburg.
But I was there.
I was there in 1976.
I was there at the first Chic 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 1962 to 1974.
I'm losing my edge.
To all the kids in Beijing and Shanghai.
I'm losing my edge to the art-school Bologna 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the clarinet 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 Slave to the jazz kids.
I played it at Cafe Wha.
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 Rod Modell. All the underground hits.
All Nas tracks. I heard you have a vinyl of every Brick 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 '70s.
I hear you're buying a chamberlin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Unrelated Segments record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar 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 Normal,
Man Parrish,
Japan,
The Fugs,
The Last Poets,
The Black Dice,
Stockholm Monsters,
The Vogues,
T.S.O.L.,
Magazine,
The Pop Group,
Boredoms,
Josef K,
Ralphi Rosario,
Pulsallama,
Davy DMX,
Heavy D & The Boyz,
Oppenheimer Analysis,
Kerrie Biddell,
Lou Reed & John Cale,
The Human League,
Porter Ricks,
John Holt,
James White and The Blacks,
Lou Reed & Metallica,
Bob Dylan,
Half Japanese,
The Remains,
The Sound,
The Fall,
Avey Tare,
Bronski Beat,
Don Cherry,
Major Organ And The Adding Machine,
8 Eyed Spy,
Easy Going,
Neu!,
Sandy B,
Jacob Miller,
Bad Manners,
Andrew Hill,
Barclay James Harvest,
These Immortal Souls,
Spandau Ballet,
Intrusion,
Bobby Womack,
Subhumans,
R.M.O.,
The Stooges,
The West Coast Pop Art Experimental Band,
Pere Ubu,
The Moody Blues,
Fluxion,
The Sonics,
Arthur Verocai,
Juan Atkins,
X-102,
Television Personalities,
The Residents,
Drive Like Jehu,
Gichy Dan,
Glenn Branca, Glenn Branca, Glenn Branca, Glenn Branca.
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.