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 Jordan and from Winnipeg.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1968 to 1979.
I'm losing my edge.
To all the kids in Spokane and Edmonton.
I'm losing my edge to the art-school Woodstock 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 1976 at the first Chic practice in a loft in New York.
I was working on the guitar sounds with much patience.
I was there when Donald Fagen 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 Main Source to the dance 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 The Associates. All the underground hits.
All Terry Callier tracks. I heard you have a vinyl of every Orchestral Manoeuvres in the Dark 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 '80s cut and another box set from the '70s.
I hear you're buying an organ and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Minnie Riperton record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dorothy Ashby,
Rakim,
Chris Corsano,
Deakin,
Sam Rivers,
Liaisons Dangereuses,
Public Enemy,
Popol Vuh,
Cybotron,
Bill Near,
Joey Negro,
In Retrospect,
T.S.O.L.,
Pantytec,
Youth Brigade,
H. Thieme,
Quadrant,
Nick Fraelich,
The Misunderstood,
Gastr Del Sol,
Spandau Ballet,
Alton Ellis,
the Soft Cell,
Visage,
Swans,
Gabor Szabo,
The West Coast Pop Art Experimental Band,
John Lydon,
John Cale,
Wally Richardson,
Fatback Band,
The Doors,
The Walker Brothers,
Echospace,
Mark Hollis,
Spoonie Gee,
Dawn Penn,
Essential Logic,
Red Lorry Yellow Lorry,
Guru Guru,
Stetsasonic,
Joe Finger,
Manfred Mann's Earth Band,
Loose Ends,
Clear Light,
Gang Green,
Ash Ra Tempel,
Gil Scott-Heron & Brian Jackson,
Unrelated Segments,
Avey Tare & Kría Brekkan,
The Vogues,
Groovy Waters,
Marcia Griffiths,
Davy DMX,
Ituana,
Rhythim Is Rhythim,
Sun Ra Arkestra,
The Zeros,
Rapeman,
The Seeds,
The Men They Couldn't Hang,
Rekid, Rekid, Rekid, Rekid.
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.