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 Guinea and from Accra.
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 1972.
I'm losing my edge.
To all the kids in Lagos and Seoul.
I'm losing my edge to the art-school Johannesburg 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the rhodes 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 Archie Shepp to the funk 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 X-102. All the underground hits.
All Gong tracks. I heard you have a vinyl of every Unwound record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Eric B and Rakim record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott Heron,
Archie Shepp,
Intrusion,
EPMD,
Prince Buster,
The American Breed,
Half Japanese,
Ultra Naté,
Pere Ubu,
Richard Hell and the Voidoids,
David McCallum,
The Velvet Underground,
Lafayette Afro Rock Band,
Tim Buckley,
Drive Like Jehu,
Siglo XX,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Scientists,
Nick Cave & The Bad Seeds,
Loose Ends,
The Red Krayola,
Sunsets and Hearts,
Nick Fraelich,
The Golliwogs,
Siouxsie and the Banshees,
Lightning Bolt,
Soft Cell,
Lucky Dragons,
Quando Quango,
Masters at Work,
Oppenheimer Analysis,
10cc,
Unrelated Segments,
Ronan,
Ralphi Rosario,
Bad Manners,
John Holt,
Godley & Creme,
The Divine Comedy,
Con Funk Shun,
L. Decosne,
Sixth Finger,
Ohio Players,
Mr. Review,
Spandau Ballet,
Niagra,
The Last Poets,
The Zeros,
The Vogues,
Mad Mike,
Marc Almond,
Todd Rundgren,
Thee Headcoats,
Interpol,
Black Pus,
Outsiders,
Mars,
Soft Machine,
Roxette,
The Human League,
The Flesh Eaters,
Massinfluence,
Minutemen, Minutemen, Minutemen, Minutemen.
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.