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 Morocco and from Sao Paulo.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1973.
I'm losing my edge.
To all the kids in Cairo and Accra.
I'm losing my edge to the art-school Beijing 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the harpsichord sounds with much patience.
I was there when Lou Reed 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 The Men They Couldn't Hang to the grime 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 Frankie Knuckles. All the underground hits.
All Lower 48 tracks. I heard you have a vinyl of every James Chance & The Contortions record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a clarinet and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Oppenheimer Analysis record.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Detroit Cobras,
Gil Scott-Heron & Brian Jackson,
The Jesus and Mary Chain,
John Lydon,
Gang of Four,
Roger Hodgson,
The West Coast Pop Art Experimental Band,
The Pop Group,
Dark Day,
London Community Gospel Choir,
World's Most,
Nick Fraelich,
Blake Baxter,
New Order,
Minny Pops,
JFA,
Technova,
June of 44,
Desert Stars,
Whodini,
Slave,
MDC,
Gregory Isaacs,
Donald Byrd,
Chris Corsano,
The Searchers,
Lebanon Hanover,
Motorama,
The Dave Clark Five,
Funkadelic,
Unwound,
The Beau Brummels,
Joensuu 1685,
Chrome,
Au Pairs,
Todd Rundgren,
Godley & Creme,
Derrick Morgan,
Jimmy McGriff,
Nils Olav,
Joey Negro,
Eurythmics,
Yazoo,
Stetsasonic,
Barrington Levy,
Basic Channel,
Aswad,
Ohio Players,
Gong,
The Gladiators,
Thompson Twins,
Guru Guru,
Jawbox,
Tomorrow,
The Seeds,
Electric Prunes,
Echospace,
Rosa Yemen,
The Dead C,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Gil Scott Heron,
The Index,
Marc Romboy vs. Booka Shade,
Pierre Henry, Pierre Henry, Pierre Henry, Pierre Henry.
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.