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 Chile and from Delhi.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Johannesburg and Bologna.
I'm losing my edge to the art-school Winnipeg 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 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 The New Christs to the grunge kids.
I played it at CBGB's.
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 the Normal. All the underground hits.
All The Flesh Eaters tracks. I heard you have a vinyl of every Tomorrow record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a harpsichord and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Bootsy Collins 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 American Breed,
Hasil Adkins,
Idris Muhammad,
The Gap Band,
London Community Gospel Choir,
The Doors,
Traffic Nightmare,
Grandmaster Flash and the Furious Five,
Hashim,
Chris Corsano,
Talk Talk,
Gil Scott Heron,
Robert Görl,
Quantec,
Nik Kershaw,
Lafayette Afro Rock Band,
Simply Red,
Sad Lovers and Giants,
Ronnie Foster,
Tubeway Army,
The Tremeloes,
Barbara Tucker,
Lower 48,
Jawbox,
Hot Snakes,
The Jesus and Mary Chain,
U.S. Maple,
The Angels of Light,
Arcadia,
Qualms,
The Searchers,
Alice Coltrane,
Kenny Larkin,
The Slackers,
Lebanon Hanover,
Minutemen,
The Move,
E-Dancer,
Alison Limerick,
Cal Tjader,
Beasts of Bourbon,
Kool Moe Dee,
Tom Boy,
Animal Collective,
Josef K,
DJ Sneak,
Hardrive,
David Axelrod,
The Index,
Oblivians,
Amon Düül,
Agitation Free,
The Remains,
The Standells,
Erykah Badu,
Sticky Fingaz feat. Raekwon,
Colin Newman,
Joy Division,
Tomorrow,
Smog,
The Litter,
The Seeds,
The Gun Club, The Gun Club, The Gun Club, The Gun Club.
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.