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 San Marino and from Tehran.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Columbus and Shanghai.
I'm losing my edge to the art-school Mexico City 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 arpeggiator 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 Oppenheimer Analysis to the rock kids.
I played it at Trash.
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 Absolute Body Control. All the underground hits.
All Eden Ahbez tracks. I heard you have a vinyl of every Juan Atkins record on German import.
I heard that you have a white label of every seminal rock 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 rhodes and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Derrick May record.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Skarface,
Jeru the Damaja,
Schoolly D,
Electric Light Orchestra,
Rhythim Is Rhythim,
Althea and Donna,
Joyce Sims,
Newcleus,
The Blackbyrds,
the Normal,
Fort Wilson Riot,
David Axelrod,
The Walker Brothers,
Johnny Osbourne,
F. McDonald,
Altered Images,
Morten Harket,
PIL,
Avey Tare's Slasher Flicks,
Qualms,
The Fugs,
Captain Beefheart & His Magic Band,
Warsaw,
Deutsch Amerikanische Freundschaft,
K-Klass,
London Community Gospel Choir,
Thompson Twins,
Technova,
48th St. Collective,
Vladislav Delay,
Jawbox,
Nils Olav,
Lou Reed & Metallica,
Faust,
Bizarre Inc.,
Angels of Light & Akron/Family,
ABC,
Con Funk Shun,
The Electric Prunes,
Loose Ends,
The Doobie Brothers,
Sister Nancy,
Camouflage,
Swell Maps,
Throbbing Gristle,
Hashim,
Mars,
Nick Fraelich,
The Black Dice,
Ornette Coleman,
Country Joe & The Fish,
Can,
Malaria!,
Rufus Thomas,
Black Sheep,
The Leaves,
The Mighty Diamonds,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Depeche Mode,
Letta Mbulu,
Sonny Sharrock,
AZ,
Idris Muhammad,
Skaos, Skaos, Skaos, Skaos.
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.