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 Indonesia and from Portland.
But I was there.
I was there in 1976.
I was there at the first Chic 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 1970.
I'm losing my edge.
To all the kids in Manila and Mexico City.
I'm losing my edge to the art-school Paris 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 808 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 Notorious Big And Bone Thugs to the electroclash 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 Crime. All the underground hits.
All Deadbeat tracks. I heard you have a vinyl of every Bush Tetras record on German import.
I heard that you have a white label of every seminal jazz 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 linndrum and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a F. McDonald record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ludus,
the Sonics,
Mission of Burma,
Nick Cave & The Bad Seeds,
Jeff Lynne,
Chris & Cosey,
Electric Light Orchestra,
Eli Mardock,
Mary Jane Girls,
Barrington Levy,
Terrestrial Tones,
John Holt,
Television Personalities,
Dorothy Ashby,
Eric B and Rakim,
Brick,
Tomorrow,
The Techniques,
Lafayette Afro Rock Band,
Agitation Free,
Chrome,
David McCallum,
Maurizio,
The Pop Group,
Barry Ungar,
Tim Buckley,
A Flock of Seagulls,
Massinfluence,
Basic Channel,
Throbbing Gristle,
The Fire Engines,
Spoonie Gee,
Angry Samoans,
Second Layer,
Don Cherry,
Porter Ricks,
Visionaries,LMNO, T- Love & Iriscience,
Red Lorry Yellow Lorry,
Desert Stars,
Flamin' Groovies,
the Soft Cell,
Eyeless In Gaza,
Sun Ra,
Scan 7,
Lakeside,
Cabaret Voltaire,
Josef K,
Marine Girls,
Marcia Griffiths,
Ajijia Myrayebe,
John Lydon,
FM Einheit,
Ash Ra Tempel,
The Birthday Party,
OOIOO,
Bobby Hutcherson,
Wasted Youth,
Sticky Fingaz feat. Raekwon,
The Kinks,
Gerry Rafferty,
Darondo,
Ornette Coleman,
Susan Cadogan,
Mad Mike, Mad Mike, Mad Mike, Mad Mike.
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.