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 Chad and from Woodstock.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1974.
I'm losing my edge.
To all the kids in Accra and Paris.
I'm losing my edge to the art-school Beijing 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 snare sounds with much patience.
I was there when Robert Palmer 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 Kas Product to the dance 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 Pete Rock & C.L. Smooth. All the underground hits.
All Lungfish tracks. I heard you have a vinyl of every Davy DMX 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 '70s cut and another box set from the '90s.
I hear you're buying a spring reverb and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Barbara Tucker record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Shuggie Otis,
Minutemen,
Marmalade,
Jeff Lynne,
X-Ray Spex,
These Immortal Souls,
Ash Ra Tempel,
Oblivians,
Tomorrow,
Sight & Sound,
Derrick Morgan,
Soul II Soul,
The J.B.'s,
Newcleus,
Main Source,
Quantec,
The Star Department,
Iggy Pop,
Quadrant,
Half Japanese,
Jandek,
T.S.O.L.,
The American Breed,
Avey Tare,
The Skatalites,
Barclay James Harvest,
The Leaves,
David Bowie,
The Neon Judgement,
The Jesus and Mary Chain,
Minny Pops,
Con Funk Shun,
Pole,
Flamin' Groovies,
The Searchers,
The Vogues,
A Flock of Seagulls,
Gastr Del Sol,
The Durutti Column,
Animal Collective,
Drive Like Jehu,
Jawbox,
Outsiders,
Absolute Body Control,
Pantytec,
Wally Richardson,
The Men They Couldn't Hang,
David Axelrod,
Patti Smith,
The Sound,
Byron Stingily,
Neil Young & Crazy Horse,
Nils Olav,
Nico,
New York Dolls,
Dennis Brown,
Sex Pistols,
Schoolly D,
Marcia Griffiths,
Oppenheimer Analysis,
E-Dancer, E-Dancer, E-Dancer, E-Dancer.
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.