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 Saudi Arabia and from Seoul.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Lyon and Cairo.
I'm losing my edge to the art-school Accra 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the rhodes sounds with much patience.
I was there when Lou Reed 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 The Moleskins to the funk kids.
I played it at Trash.
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 Isaac Hayes. All the underground hits.
All Dorothy Ashby 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 electroclash 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 mellotron and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Flash Fearless record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ponytail,
New York Dolls,
Byron Stingily,
De La Soul & Jungle Brothers,
Scientists,
Animal Collective,
The Kinks,
Visionaries,LMNO, T- Love & Iriscience,
Tears for Fears,
Sunsets and Hearts,
Kool Moe Dee,
Radiopuhelimet,
Ajijia Myrayebe,
Tropical Tobacco,
Röyhkä ja Rättö ja Lehtisalo,
Sparks,
Porter Ricks,
The Pretty Things,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Dave Clark Five,
Technova,
Colin Newman,
Public Image Ltd.,
Neil Young & Crazy Horse,
Sällskapet,
Scan 7,
Massinfluence,
Richard Hell and the Voidoids,
H. Thieme,
Tim Buckley,
L. Decosne,
Juan Atkins,
Brand Nubian,
Reagan Youth,
Bobby Sherman,
The Chocolate Watch Band,
Traffic Nightmare,
Shuggie Otis,
Lou Christie,
Barclay James Harvest,
Little Man,
Idris Muhammad,
The J.B.'s,
Marc Almond,
Can,
Lalann,
Ash Ra Tempel,
Simply Red,
Kings Of Tomorrow,
The Velvet Underground,
Silicon Teens,
Tres Demented,
Franke,
Dorothy Ashby,
Rakim,
The Divine Comedy,
Smog,
D'Angelo,
Schoolly D,
Panda Bear,
Nirvana,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
EPMD, EPMD, EPMD, EPMD.
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.