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 Denmark and from Madrid.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
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 1968 to 1979.
I'm losing my edge.
To all the kids in London and Madrid.
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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the marimba 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 Morten Harket to the dance kids.
I played it at CBGB's.
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 a-ha. All the underground hits.
All The Modern Lovers tracks. I heard you have a vinyl of every Barclay James Harvest 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 '50s cut and another box set from the '70s.
I hear you're buying a marimba and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Jimmy McGriff record.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cameo,
EPMD,
John Holt,
The Angels of Light,
Sight & Sound,
Hoover,
Kas Product,
Terror Squad Feat. Camron,
The Toasters,
Zero Boys,
The Trojans,
Motorama,
Q65,
Camron Feat. Memphis Bleek And Beenie Seigel,
Pharoah Sanders,
Whodini,
Faust,
Wolf Eyes,
Slick Rick,
Lucky Dragons,
The Doobie Brothers,
U.S. Maple,
The Busters,
David Axelrod,
It's A Beautiful Day,
Leonard Cohen,
the Bar-Kays,
The Moody Blues,
The Modern Lovers,
Röyhkä ja Rättö ja Lehtisalo,
Can,
Average White Band,
Bill Near,
The Martian,
The Sound,
Roxy Music,
The Count Five,
Boredoms,
Davy DMX,
Gang of Four,
Scan 7,
Young Marble Giants,
48th St. Collective,
The Blues Magoos,
Tubeway Army,
June of 44,
Sugar Minott,
The Associates,
Lonnie Liston Smith,
Carl Craig,
Scion,
Bush Tetras,
Quando Quango,
10cc,
Severed Heads,
Oppenheimer Analysis,
Kurtis Blow,
Max Romeo,
The Neon Judgement,
The Remains,
Alton Ellis,
Althea and Donna, Althea and Donna, Althea and Donna, Althea and Donna.
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.