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 Vietnam and from Jakarta.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1961 to 1979.
I'm losing my edge.
To all the kids in New York and Bologna.
I'm losing my edge to the art-school Calgary 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 808 sounds with much patience.
I was there when Captain Beefheart 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 Brand Nubian to the grime kids.
I played it at the Roxy.
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 Mad Mike. All the underground hits.
All Von Mondo tracks. I heard you have a vinyl of every Louis and Bebe Barron 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 '50s cut and another box set from the '90s.
I hear you're buying a 808 and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Siouxsie and the Banshees record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jeff Mills,
Richard Hell and the Voidoids,
Delon & Dalcan,
Ash Ra Tempel,
Lalo Schifrin,
the Human League,
The Black Dice,
Mandrill,
Nick Fraelich,
Godley & Creme,
Cheater Slicks,
Patti Smith,
Michelle Simonal,
Funky Four + One,
Oneida,
Gil Scott-Heron and Jamie xx,
Zero Boys,
Gastr Del Sol,
Minny Pops,
Marc Romboy vs. Booka Shade,
B.T. Express,
Super Lover Cee & Casanova Rud,
Brick,
Pere Ubu,
Bill Wells,
Public Enemy,
Aswad,
ABC,
Heavy D & The Boyz,
The Chocolate Watch Band,
The Blackbyrds,
Iggy Pop,
The Knickerbockers,
The Busters,
Fear,
Sällskapet,
Gang Starr,
Soft Machine,
Davy DMX,
Technova,
Mark Hollis,
Schoolly D,
The Peanut Butter Conspiracy,
Agent Orange,
Half Japanese,
the Fania All-Stars,
The Cramps,
Average White Band,
Adolescents,
Massinfluence,
Bootsy's Rubber Band,
A Certain Ratio,
Avey Tare & Kría Brekkan,
Connie Case,
Moby Grape,
Soulsonic Force,
E-Dancer,
F. McDonald,
The Electric Prunes,
Roger Hodgson,
Peter and Kerry,
Drive Like Jehu,
Symarip, Symarip, Symarip, Symarip.
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.