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 Laos and from Philadelphia.
But I was there.
I was there in .
I was there at the first Suicide 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 1967 to 1971.
I'm losing my edge.
To all the kids in Paris and Shanghai.
I'm losing my edge to the art-school Winnipeg 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 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 Louis and Bebe Barron to the crunk kids.
I played it at the Hacienda.
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 Camron Feat. Jay Z And Juelz. All the underground hits.
All The Misunderstood tracks. I heard you have a vinyl of every Slave record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a güiro and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Grandmaster Flash and the Furious Five record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
China Crisis,
Mission of Burma,
Qualms,
Sight & Sound,
Hot Snakes,
The Cowsills,
The Tremeloes,
Fat Boys,
Avey Tare's Slasher Flicks,
Marshall Jefferson,
Hoover,
Bauhaus,
The Cramps,
Sonny Sharrock,
Sly & The Family Stone,
The Alarm Clocks,
Eric B and Rakim,
Stereo Dub,
MDC,
Rufus Thomas,
the Human League,
New Age Steppers,
Matthew Halsall,
Altered Images,
Royal Trux,
Echo & the Bunnymen,
Larry & the Blue Notes,
Infiniti,
Eden Ahbez,
Roy Ayers,
The Mojo Men,
Average White Band,
Orchestral Manoeuvres in the Dark,
Brothers Johnson,
Crash Course in Science,
Ash Ra Tempel,
Pulsallama,
The Count Five,
Porter Ricks,
The Jesus and Mary Chain,
Anakelly,
Red Lorry Yellow Lorry,
Second Layer,
Robert Hood,
Mars,
Marmalade,
Sun Ra Arkestra,
Dorothy Ashby,
Cymande,
Underground Resistance,
This Heat,
Grauzone,
In Retrospect,
Marine Girls,
the Slits,
Nik Kershaw,
Aloha Tigers,
Surgeon,
Peter & Gordon,
Ohio Players,
John Holt,
Ten City,
Darondo,
Michelle Simonal, Michelle Simonal, Michelle Simonal, Michelle Simonal.
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.