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 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 1960 to 1973.
I'm losing my edge.
To all the kids in Delhi and Tehran.
I'm losing my edge to the art-school Lille 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 mellotron sounds with much patience.
I was there when Tom Verlaine 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 Fear to the rap 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 Nas. All the underground hits.
All Goldenarms tracks. I heard you have a vinyl of every B.T. Express record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a güiro and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Ronnie Foster record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Harmonia,
The Names,
Hot Snakes,
Joey Negro,
The Evens,
Jeff Mills,
Gary Puckett & The Union Gap,
Sonny Sharrock,
Marvin Gaye,
Aural Exciters,
Can,
Radio Birdman,
Basic Channel,
Neil Young,
Orchestral Manoeuvres in the Dark,
Theoretical Girls,
Fluxion,
Sunsets and Hearts,
Gregory Isaacs,
The Velvet Underground,
The Vogues,
The Leaves,
Chrome,
Pantaleimon,
Sexual Harrassment,
The Blues Magoos,
Robert Wyatt,
Gerry Rafferty,
Spandau Ballet,
Rufus Thomas,
Andrew Hill,
The Seeds,
Delta 5,
Sonic Youth,
Boogie Down Productions,
Johnny Clarke,
The Flesh Eaters,
The Mighty Diamonds,
The Slits,
Icehouse,
Fear,
The Electric Prunes,
Godley & Creme,
Black Bananas,
The Red Krayola,
Prince Buster,
Cameo,
David McCallum,
World's Most,
Andrew Ashong & Theo Parrish,
Eden Ahbez,
The Birthday Party,
Pierre Henry,
Pylon,
the Swans,
Kool G Rap & DJ Polo,
Bluetip,
Ten City,
The Associates,
Audionom,
R.M.O.,
Gil Scott-Heron & Brian Jackson,
Alison Limerick,
John Coltrane, John Coltrane, John Coltrane, John Coltrane.
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.