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 Jordan and from Stockholm.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Houston and Lagos.
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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the synthesizer 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 Pharaoh Sanders and the Fire Engines to the rap kids.
I played it at CBGB's.
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 Suburban Knight. All the underground hits.
All Japan tracks. I heard you have a vinyl of every Brick record on German import.
I heard that you have a white label of every seminal grime 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 sitar and are throwing your macbook out the window because you want to make something real. You want to make a Schoolly D record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Names,
The Golliwogs,
Albert Ayler,
It's A Beautiful Day,
Khruangbin,
Danielle Patucci,
The Five Americans,
X-101,
The Count Five,
The Electric Prunes,
Piero Umiliani,
Avey Tare & Kría Brekkan,
Silicon Teens,
Amon Düül II,
Gil Scott Heron,
Banda Bassotti,
Jeff Lynne,
Lonnie Liston Smith,
The New Christs,
Kaleidoscope,
These Immortal Souls,
Das Ding,
Jeff Mills,
Japan,
Liliput,
Los Fastidios,
Idris Muhammad,
Symarip,
Bobby Sherman,
D'Angelo,
Rosa Yemen,
Young Marble Giants,
Terry Callier,
Panda Bear,
Morten Harket,
Don Cherry,
Avey Tare's Slasher Flicks,
The Wake,
Wire,
Scott Walker + Sunn O))),
Bobby Byrd,
Andrew Ashong & Theo Parrish,
Aswad,
Maurizio,
The Monochrome Set,
Kerri Chandler,
Derrick Morgan,
Ituana,
Eli Mardock,
Kango’s Stein Massive,
Gabor Szabo,
James Chance & The Contortions,
Throbbing Gristle,
The United States of America,
Kenny Larkin,
Jawbox,
Bauhaus,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Scratch Acid,
Strawberry Alarm Clock, Strawberry Alarm Clock, Strawberry Alarm Clock, Strawberry Alarm Clock.
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.