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 El Salvador and from Shanghai.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Columbus and Seoul.
I'm losing my edge to the art-school London 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the snare sounds with much patience.
I was there when Michael McDonald 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 James White and The Blacks to the techno kids.
I played it at the Astoria.
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 Jesper Dahlback. All the underground hits.
All Grandmaster Flash and the Furious Five tracks. I heard you have a vinyl of every Panda Bear 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 '70s cut and another box set from the '70s.
I hear you're buying a rhodes and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Magazine record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rahsaan Roland Kirk,
UT,
Terry Callier,
Trumans Water,
The Durutti Column,
The Blues Magoos,
Roxy Music,
Cheater Slicks,
Alphaville,
Rhythim Is Rhythim,
Mary Jane Girls,
Bizarre Inc.,
Roy Ayers,
Slick Rick,
Altered Images,
Ronnie Foster,
Nation of Ulysses,
The Slackers,
Cabaret Voltaire,
Saccharine Trust,
X-102,
Vainqueur,
Sound Behaviour,
Bobby Sherman,
Japan,
Guru Guru,
The Shadows of Knight,
Visage,
Röyhkä ja Rättö ja Lehtisalo,
Jeff Mills,
Ossler,
Crispy Ambulance,
The Names,
Blancmange,
Stereo Dub,
Camouflage,
Soft Cell,
Make Up,
Masters at Work,
The Victims,
Junior Murvin,
The Electric Prunes,
Shoche,
Jacob Miller,
Be Bop Deluxe,
Tomorrow,
John Holt,
The Fortunes,
Gian Franco Pienzio,
David Axelrod,
Mr. Review,
Johnny Clarke,
Lungfish,
Lou Reed,
The American Breed,
Art Ensemble Of Chicago,
Stiv Bators,
Ken Boothe,
Fluxion,
Andrew Hill,
Flamin' Groovies,
Section 25,
Kool G Rap & DJ Polo,
Depeche Mode,
Sexual Harrassment, Sexual Harrassment, Sexual Harrassment, Sexual Harrassment.
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.