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 Kenya and from Hong Kong.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Seoul and Seoul.
I'm losing my edge to the art-school Houston 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 1978 at the first Visage practice in a loft in London.
I was working on the 808 sounds with much patience.
I was there when Captain Beefheart 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 The Last Poets to the electroclash 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 Marvin Gaye. All the underground hits.
All Archie Shepp tracks. I heard you have a vinyl of every The Star Department record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a 808 and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Angry Samoans record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Franke,
Nico,
Blake Baxter,
ABBA,
The Move,
The Moody Blues,
Negative Approach,
The Cure,
Masters at Work,
Avey Tare's Slasher Flicks,
Bill Wells,
F. McDonald,
Saccharine Trust,
Animal Collective,
The American Breed,
The Knickerbockers,
Ash Ra Tempel,
The Birthday Party,
Accadde A,
Minutemen,
The Fugs,
The Evens,
LL Cool J,
The Leaves,
Gerry Rafferty,
Tommy Roe,
The J.B.'s,
8 Eyed Spy,
Excepter,
Ponytail,
Lebanon Hanover,
Eyeless In Gaza,
Cameo,
Jeff Mills,
Spoonie Gee,
The Cowsills,
Scientists,
Arab on Radar,
Jesper Dahlbäck,
Sister Nancy,
Television,
Robert Hood,
Beasts of Bourbon,
Audionom,
The Invisible,
Peter Gordon & Love of Life Orchestra,
Man Parrish,
Joey Negro,
Rapeman,
Justin Hinds & The Dominoes,
The Associates,
T. Rex,
Jimmy McGriff,
Letta Mbulu,
Nik Kershaw,
Oneida,
Chris & Cosey,
Kerri Chandler,
The Star Department,
Roy Ayers Ubiquity, Roy Ayers Ubiquity, Roy Ayers Ubiquity, Roy Ayers Ubiquity.
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.