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 Somalia and from Bremen.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1977.
I'm losing my edge.
To all the kids in Mumbai and New York.
I'm losing my edge to the art-school Copenhagen 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 chamberlin sounds with much patience.
I was there when Donald Fagen 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 Slits to the funk 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 Eric B and Rakim. All the underground hits.
All Prince Buster tracks. I heard you have a vinyl of every Moss Icon record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a rhodes and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Anthony Braxton record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sun Ra Arkestra,
Tommy Roe,
OOIOO,
Half Japanese,
Sly & The Family Stone,
Byron Stingily,
Marcia Griffiths,
The Jesus and Mary Chain,
Lindisfarne,
Minny Pops,
the Germs,
Bad Manners,
Dennis Brown,
The Leaves,
Visionaries,LMNO, T- Love & Iriscience,
Kango’s Stein Massive,
Nation of Ulysses,
Agitation Free,
June of 44,
Subhumans,
Dawn Penn,
MDC,
Echospace,
Girls At Our Best!,
Neil Young & Crazy Horse,
Liaisons Dangereuses,
James Chance & The Contortions,
Roxy Music,
Procol Harum,
The Grass Roots,
Duran Duran,
The Last Poets,
Adolescents,
Cybotron,
Guru Guru,
Erasure,
Sad Lovers and Giants,
The Dave Clark Five,
Infiniti,
Boz Scaggs,
Ash Ra Tempel,
Gil Scott Heron,
Moebius,
The Mighty Diamonds,
the Swans,
Lonnie Liston Smith,
Kenny Larkin,
Juan Atkins,
Grandmaster Flash,
Lalo Schifrin,
Bill Near,
Fad Gadget,
Gang Green,
Throbbing Gristle,
Chris Corsano,
U.S. Maple,
Angels of Light & Akron/Family,
Cheater Slicks,
Mark Hollis,
John Foxx,
The Royal Family And The Poor,
The Fugs,
Letta Mbulu,
The Selecter, The Selecter, The Selecter, The Selecter.
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.