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 Luxembourg and from Paris.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1976.
I'm losing my edge.
To all the kids in Tokyo and Madrid.
I'm losing my edge to the art-school New York 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 sitar sounds with much patience.
I was there when Nile Rodgers 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 Bobby Byrd to the rock kids.
I played it at the Troubador.
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 Cecil Taylor. All the underground hits.
All Eric B and Rakim tracks. I heard you have a vinyl of every Pharoah Sanders 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 '80s cut and another box set from the '80s.
I hear you're buying a chamberlin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Mars record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Supertramp,
Fort Wilson Riot,
Robert Görl,
Derrick Morgan,
Dr. Dre and Snoop Doggy Dog,
kango's stein massive,
Angels of Light & Akron/Family,
Avey Tare's Slasher Flicks,
Sällskapet,
Lindisfarne,
AZ,
DNA,
China Crisis,
Ultra Naté,
Pulsallama,
Animal Collective,
Neil Young,
The Slackers,
Can,
Chris & Cosey,
Strawberry Alarm Clock,
Trumans Water,
Pagans,
Soft Machine,
In Retrospect,
Scan 7,
The J.B.'s,
Gian Franco Pienzio,
Slick Rick,
a-ha,
John Coltrane,
The Barracudas,
Notorious BIG live in Amsterdam,
Nas,
Ken Boothe,
Model 500,
Brothers Johnson,
Bob Dylan,
Bang On A Can,
Gil Scott-Heron & Brian Jackson,
Mark Hollis,
Sex Pistols,
Gil Scott-Heron and Jamie xx,
Joe Finger,
The Tremeloes,
Stiv Bators,
Drive Like Jehu,
Grauzone,
The Young Rascals,
Lower 48,
Black Sheep,
DJ Style,
Ohio Players,
June Days,
Thee Headcoats,
The Birthday Party,
Oneida,
Lonnie Liston Smith,
Scott Walker,
Ossler,
The Names,
Minutemen,
The Leaves,
Reuben Wilson, Reuben Wilson, Reuben Wilson, Reuben Wilson.
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.