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 Tonga and from Lille.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Philadelphia and New York.
I'm losing my edge to the art-school Tehran 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 chamberlin 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 Lou Reed 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 8 Eyed Spy. All the underground hits.
All The Grass Roots tracks. I heard you have a vinyl of every Khruangbin record on German import.
I heard that you have a white label of every seminal grime 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 harpsichord and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Neon Judgement record.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Urselle,
The Dirtbombs,
AZ,
Letta Mbulu,
the Normal,
The Gladiators,
Jerry's Kids,
Marmalade,
Kool Moe Dee,
Saccharine Trust,
Kauko Röyhkä ja Narttu,
Carl Craig,
Maleditus Sound,
The Golliwogs,
Underground Resistance,
Sarah Menescal,
The Toasters,
Kayak,
Suburban Knight,
Bill Near,
Scratch Acid,
Talk Talk,
the Germs,
The Birthday Party,
Index,
The Move,
R.M.O.,
Sister Nancy,
The Pop Group,
Kerri Chandler,
Babytalk,
Fad Gadget,
Jeff Mills,
Rites of Spring,
Bush Tetras,
Ultravox,
Deepchord,
Duran Duran,
Wasted Youth,
The Fugs,
The Dead C,
Lou Reed,
Glenn Branca,
Hardrive,
Sam Rivers,
Sly & The Family Stone,
Swell Maps,
Heaven 17,
The Techniques,
Slick Rick,
Amazonics,
Inner City,
Eric B and Rakim,
Mandrill,
The Angels of Light,
Judy Mowatt,
The Barracudas,
London Community Gospel Choir,
De La Soul & Jungle Brothers,
The Chocolate Watch Band,
Avey Tare's Slasher Flicks, Avey Tare's Slasher Flicks, Avey Tare's Slasher Flicks, Avey Tare's Slasher Flicks.
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.