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 Lebanon and from Sao Paulo.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Tehran and London.
I'm losing my edge to the art-school Columbus 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 1978 at the first Visage practice in a loft in London.
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 Country Joe & The Fish 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 Fort Wilson Riot. All the underground hits.
All Electric Light Orchestra tracks. I heard you have a vinyl of every Dorothy Ashby record on German import.
I heard that you have a white label of every seminal punk 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 an oboe and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Kool G Rap & DJ Polo record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Idris Muhammad,
Eric B and Rakim,
Bobby Hutcherson,
Laurel Aitken,
Kevin Saunderson,
Sparks,
Jacob Miller,
Pussy Galore,
The Gap Band,
Ajijia Myrayebe,
Judy Mowatt,
Marshall Jefferson,
Lucky Dragons,
The Blues Magoos,
Yellowson,
Circle Jerks,
Alphaville,
Pantaleimon,
Con Funk Shun,
The Chocolate Watch Band,
Massinfluence,
Freddie Wadling,
Roxette,
Fad Gadget,
Electric Prunes,
The Evens,
Jerry's Kids,
Grandmaster Flash,
Gil Scott-Heron & Brian Jackson,
Rufus Thomas,
The Pretty Things,
Stereo Dub,
Lebanon Hanover,
The Real Kids,
The West Coast Pop Art Experimental Band,
Mary Jane Girls,
Curtis Mayfield,
Soft Machine,
Basic Channel,
Strawberry Alarm Clock,
Sly & The Family Stone,
Intrusion,
Stetsasonic,
New York Dolls,
Essential Logic,
R.M.O.,
Frankie Knuckles,
Echospace,
Lou Christie,
Camberwell Now,
Soft Cell,
the Swans,
Mr. Review,
Fat Boys,
48th St. Collective,
The Stooges,
The Searchers,
DJ Style,
The Sonics,
Pantytec,
The Saints,
Camron Feat. Memphis Bleek And Beenie Seigel,
Severed Heads,
Gil Scott Heron, Gil Scott Heron, Gil Scott Heron, Gil Scott Heron.
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.