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 Botswana and from Lagos.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Milan and Portland.
I'm losing my edge to the art-school Houston 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 snare sounds with much patience.
I was there when David Bowie 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 DNA to the techno kids.
I played it at the Hacienda.
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 United States of America. All the underground hits.
All Bush Tetras tracks. I heard you have a vinyl of every Spandau Ballet 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 '50s cut and another box set from the '70s.
I hear you're buying a synthesizer and a 808 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 marimba and bought a güiro.
I hear that you and your band have sold your güiro and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ronnie Foster,
James White and The Blacks,
Judy Mowatt,
Fatback Band,
Slick Rick,
Orchestral Manoeuvres in the Dark,
Sparks,
Derrick May,
Black Bananas,
Masters at Work,
The Raincoats,
The Stooges,
Erasure,
Minny Pops,
Amon Düül,
Banda Bassotti,
Echospace,
Nirvana,
The Dave Clark Five,
Con Funk Shun,
Basic Channel,
L. Decosne,
Qualms,
Dead Boys,
Matthew Halsall,
Harpers Bizarre,
Echo & the Bunnymen,
Lightning Bolt,
Saccharine Trust,
Rotary Connection,
Guru Guru,
Neil Young,
Slave,
Little Man,
Neu!,
The Index,
Sun Ra,
E-Dancer,
Minnie Riperton,
This Heat,
Pole,
Camron Feat. Jay Z And Juelz,
Black Flag,
Eddi Front,
Alice Coltrane,
The Chocolate Watch Band,
The Jesus and Mary Chain,
Kas Product,
Siglo XX,
Fugazi,
Fort Wilson Riot,
Tubeway Army,
The Cramps,
Amazonics,
Darondo,
Popol Vuh,
Public Enemy,
Nation of Ulysses,
Barclay James Harvest,
Juan Atkins,
Black Sheep,
Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis.
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.