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 Korea North and from Hong Kong.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Calgary and Portland.
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 1978 at the first Visage practice in a loft in London.
I was working on the güiro 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 Prince Buster to the dance kids.
I played it at the 40 Watt.
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 Fania All-Stars. All the underground hits.
All X-Ray Spex tracks. I heard you have a vinyl of every Quadrant record on German import.
I heard that you have a white label of every seminal electroclash 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 snare and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Camron Feat. Memphis Bleek And Beenie Seigel record.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Derrick Morgan,
Masters at Work,
Los Fastidios,
Amazonics,
Rhythm & Sound,
Brick,
Desert Stars,
Peter Gordon & Love of Life Orchestra,
Art Ensemble Of Chicago,
Crooked Eye,
Icehouse,
Minnie Riperton,
The Grass Roots,
Ultramagnetic MC's,
The Cure,
Bizarre Inc.,
Lucky Dragons,
The Count Five,
Peter and Kerry,
Juan Atkins,
Faust,
Joe Smooth,
Rahsaan Roland Kirk,
Arthur Verocai,
EPMD,
a-ha,
Todd Rundgren,
Bush Tetras,
Fifty Foot Hose,
MC5,
The Sonics,
The Seeds,
James White and The Blacks,
Louis and Bebe Barron,
Ultimate Spinach,
The Dead C,
Matthew Bourne,
Saccharine Trust,
The Blackbyrds,
Lalann,
Grandmaster Flash and the Furious Five,
Organ,
Gichy Dan,
Bad Manners,
Boz Scaggs,
Lebanon Hanover,
This Heat,
The Royal Family And The Poor,
Outsiders,
Shuggie Otis,
Todd Terry,
Visage,
Yellowson,
Subhumans,
The Saints,
Absolute Body Control,
Ralphi Rosario,
Lindisfarne,
Mr. Review,
Bob Dylan,
Nils Olav,
Quadrant,
Gil Scott Heron, Gil Scott Heron, Gil Scott Heron, Gil Scott Heron.
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.