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 Guinea and from Calgary.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1979.
I'm losing my edge.
To all the kids in Glasgow and Taipei.
I'm losing my edge to the art-school Spokane 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the mellotron sounds with much patience.
I was there when Michael McDonald 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 Faraquet to the electroclash kids.
I played it at the Astoria.
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 Bobby Womack. All the underground hits.
All The Mojo Men tracks. I heard you have a vinyl of every Mad Mike record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an oboe and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Jeru the Damaja record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fire Engines,
Crooked Eye,
The Red Krayola,
The Mojo Men,
Throbbing Gristle,
Joe Finger,
The Cowsills,
The Happenings,
The Angels of Light,
The Shadows of Knight,
The Last Poets,
Q65,
Bizarre Inc.,
Reuben Wilson,
Thee Headcoats,
Aloha Tigers,
Yusef Lateef,
Depeche Mode,
The Fortunes,
Pagans,
AZ,
Gary Puckett & The Union Gap,
Oppenheimer Analysis,
June Days,
Rakim,
LL Cool J,
Girls At Our Best!,
Letta Mbulu,
Pulsallama,
Young Marble Giants,
Minor Threat,
Rod Modell,
Dark Day,
Rekid,
The Count Five,
Gil Scott-Heron and Jamie xx,
Moebius,
Camron Feat. Jay Z And Juelz,
Wasted Youth,
Lyres,
The Alarm Clocks,
Suicide,
Jerry's Kids,
Byron Stingily,
Minutemen,
Orchestral Manoeuvres in the Dark,
Robert Görl,
Quando Quango,
Cabaret Voltaire,
K-Klass,
Marvin Gaye,
Kaleidoscope,
Eric B and Rakim,
Ten City,
The Chocolate Watch Band,
The Slackers,
Teenage Jesus and the Jerks,
The Birthday Party,
One Last Wish,
T.S.O.L.,
The Seeds,
Masters at Work, Masters at Work, Masters at Work, Masters at Work.
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.