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 Zimbabwe and from London.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Sao Paulo and Lille.
I'm losing my edge to the art-school Bologna 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 Black Pus to the electroclash kids.
I played it at the Crocodile.
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 One Last Wish. All the underground hits.
All Johnny Osbourne tracks. I heard you have a vinyl of every Warsaw record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a synthesizer and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Zero Boys record.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear that you and your band have sold your mellotron 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?
Kenny Larkin,
Strawberry Alarm Clock,
Easy Going,
Nick Fraelich,
Mary Jane Girls,
Judy Mowatt,
Siglo XX,
Skaos,
Maleditus Sound,
Gang Green,
Bob Dylan,
Drexciya,
Terror Squad Feat. Camron,
The Tremeloes,
The Stooges,
Bobby Hutcherson,
Ronan,
Lucky Dragons,
Banda Bassotti,
The Alarm Clocks,
Traffic Nightmare,
Marcia Griffiths,
Rosa Yemen,
Agitation Free,
Public Enemy,
Jeff Mills,
Bill Wells,
Lou Christie,
Technova,
June of 44,
Tears for Fears,
The Electric Prunes,
Harpers Bizarre,
Severed Heads,
Gerry Rafferty,
Delta 5,
Ultra Naté,
Johnny Clarke,
Rakim,
Fat Boys,
Sarah Menescal,
Eyeless In Gaza,
Dark Day,
DNA,
Connie Case,
E-Dancer,
Kool G Rap & DJ Polo,
Freddie Wadling,
The Standells,
Wire,
Mars,
Fear,
David Axelrod,
Ajijia Myrayebe,
LL Cool J,
X-102,
Kaleidoscope,
The Fall,
Drive Like Jehu,
The Mummies,
Johnny Osbourne, Johnny Osbourne, Johnny Osbourne, Johnny Osbourne.
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.