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 Algeria and from Glasgow.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Johannesburg and Salvador.
I'm losing my edge to the art-school Tokyo 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 Chic practice in a loft in New York.
I was working on the güiro sounds with much patience.
I was there when Robert Palmer 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 Crooked Eye to the techno kids.
I played it at Trash.
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 Barclay James Harvest. All the underground hits.
All Marc Almond tracks. I heard you have a vinyl of every World's Most record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Main Source record.
I hear that you and your band have sold your sitar and bought a güiro.
I hear that you and your band have sold your güiro and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Reuben Wilson,
Silicon Teens,
Bizarre Inc.,
Girls At Our Best!,
Sonny Sharrock,
The Index,
Public Enemy,
The Associates,
Cheater Slicks,
Scion,
Japan,
The Detroit Cobras,
Pantaleimon,
Louis and Bebe Barron,
Alison Limerick,
The Dead C,
Man Parrish,
X-Ray Spex,
Von Mondo,
Leonard Cohen,
Siglo XX,
Monolake,
The Red Krayola,
The Move,
Camberwell Now,
The Barracudas,
U.S. Maple,
Barry Ungar,
Kings Of Tomorrow,
Agent Orange,
The Sound,
Babytalk,
a-ha,
Quadrant,
T.S.O.L.,
Ituana,
Sly & The Family Stone,
Gastr Del Sol,
The Names,
Q65,
the Swans,
The Knickerbockers,
Bang on a Can All-Stars,
Art Ensemble Of Chicago,
Royal Trux,
Unrelated Segments,
Guru Guru,
The Neon Judgement,
the Germs,
Angels of Light & Akron/Family,
OOIOO,
Big Daddy Kane,
Sandy B,
Ultimate Spinach,
Main Source,
The Cure,
Fad Gadget,
Nas,
T. Rex,
Little Man,
Cameo,
The Remains, The Remains, The Remains, The Remains.
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.