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 Argentina and from London.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Sao Paulo and Mumbai.
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 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 Tom Verlaine 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 Gil Scott-Heron and Jamie xx to the disco kids.
I played it at the Spitz.
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 Amazonics. All the underground hits.
All Ornette Coleman tracks. I heard you have a vinyl of every Rahsaan Roland Kirk record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a synthesizer and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Flash Fearless record.
I hear that you and your band have sold your 808 and bought a theremin.
I hear that you and your band have sold your theremin and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pulsallama,
Jacob Miller,
Dennis Brown,
Minny Pops,
Orchestral Manoeuvres in the Dark,
The Offenders,
The Birthday Party,
Bob Dylan,
The Skatalites,
The Fugs,
Lou Reed,
Chris Corsano,
Bronski Beat,
Eli Mardock,
Louis and Bebe Barron,
Visage,
Lalo Schifrin,
Rhythm & Sound,
Jeff Mills,
The Walker Brothers,
Angels of Light & Akron/Family,
Con Funk Shun,
Popol Vuh,
Heavy D & The Boyz,
JFA,
Lyres,
Lightning Bolt,
Kool G Rap & DJ Polo,
Pharoah Sanders,
Minnie Riperton,
Ice-T,
One Last Wish,
Delon & Dalcan,
The Monochrome Set,
Public Image Ltd.,
Girls At Our Best!,
Roxy Music,
Bizarre Inc.,
Slick Rick,
Leonard Cohen,
Pierre Henry,
Suicide,
the Sonics,
Maleditus Sound,
Sunsets and Hearts,
Make Up,
The Index,
Grandmaster Flash,
Silicon Teens,
Ash Ra Tempel,
Dead Boys,
The Victims,
Fugazi,
Janne Schatter,
The Modern Lovers,
Ronan,
Bootsy Collins,
Richard Hell and the Voidoids,
Ituana,
Henry Cow,
Lee Hazlewood, Lee Hazlewood, Lee Hazlewood, Lee Hazlewood.
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.