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 Macedonia and from Johannesburg.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1971.
I'm losing my edge.
To all the kids in Manila and London.
I'm losing my edge to the art-school Delhi 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the sitar sounds with much patience.
I was there when Captain Beefheart 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 Flash Fearless to the techno kids.
I played it at the Troubador.
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 London Community Gospel Choir. All the underground hits.
All Sad Lovers and Giants tracks. I heard you have a vinyl of every The Martian record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a marimba and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Kevin Saunderson record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Letta Mbulu,
The Angels of Light,
Vladislav Delay,
The J.B.'s,
Blossom Toes,
Colin Newman,
Maurizio,
The Index,
Half Japanese,
Liliput,
Gabor Szabo,
Grandmaster Flash and the Furious Five,
Radio Birdman,
Glambeats Corp.,
Matthew Halsall,
Lyres,
James Chance & The Contortions,
Max Romeo,
Rakim,
Skarface,
Public Enemy,
Steve Hackett,
Nils Olav,
Don Cherry,
The Five Americans,
La Düsseldorf,
The Fortunes,
Quadrant,
Notorious BIG live in Amsterdam,
Cybotron,
Subhumans,
Los Fastidios,
Connie Case,
Au Pairs,
Excepter,
Terrestrial Tones,
Dawn Penn,
Red Lorry Yellow Lorry,
Infiniti,
Mad Mike,
10cc,
David Bowie,
Darondo,
Bobby Hutcherson,
It's A Beautiful Day,
Country Teasers,
The Slits,
Carl Craig,
Ash Ra Tempel,
Sam Rivers,
Franke,
Nick Cave & The Bad Seeds,
Beasts of Bourbon,
Niagra,
the Normal,
China Crisis,
Royal Trux,
Sällskapet,
Stetsasonic,
Ajijia Myrayebe,
Eden Ahbez,
Pylon,
LL Cool J, LL Cool J, LL Cool J, LL Cool J.
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.