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 Tunisia and from Halifax.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1976.
I'm losing my edge.
To all the kids in Madrid and Tehran.
I'm losing my edge to the art-school Mumbai 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 clarinet 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 Johnny Osbourne to the disco 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 Symarip. All the underground hits.
All Heavy D & The Boyz tracks. I heard you have a vinyl of every Warren Ellis 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 '60s cut and another box set from the '80s.
I hear you're buying a chamberlin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Unrelated Segments record.
I hear that you and your band have sold your mellotron and bought an oboe.
I hear that you and your band have sold your oboe and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wolf Eyes,
Grey Daturas,
Joy Division,
Adolescents,
Morten Harket,
The Fire Engines,
Model 500,
Fear,
Roy Ayers Ubiquity,
Ossler,
Girls At Our Best!,
Simply Red,
The United States of America,
Avey Tare & Kría Brekkan,
Lucky Dragons,
Circle Jerks,
Loose Ends,
the Bar-Kays,
Metal Thangz,
Big Daddy Kane,
Silicon Teens,
The Fortunes,
The Chocolate Watch Band,
Tears for Fears,
Godley & Creme,
Sad Lovers and Giants,
Avey Tare's Slasher Flicks,
The Skatalites,
Excepter,
The Smoke,
Joe Finger,
Pylon,
Masters at Work,
Cal Tjader,
ABC,
Slave,
Frankie Knuckles,
Chris & Cosey,
Johnny Osbourne,
Barry Ungar,
Gary Puckett & The Union Gap,
Harpers Bizarre,
The Black Dice,
10cc,
Funkadelic,
Tres Demented,
Yellowson,
Wally Richardson,
Davy DMX,
Rotary Connection,
Saccharine Trust,
It's A Beautiful Day,
Rufus Thomas,
Sexual Harrassment,
Minutemen,
Siouxsie and the Banshees,
Robert Görl,
Pet Shop Boys,
Jesper Dahlback,
The Zeros,
Stetsasonic,
Television,
Patti Smith, Patti Smith, Patti Smith, Patti Smith.
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.