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 Marshall Islands and from Taipei.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Accra and Bologna.
I'm losing my edge to the art-school Calgary 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 Chic practice in a loft in New York.
I was working on the snare sounds with much patience.
I was there when Michael McDonald 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 Gap Band to the jazz 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 Mission of Burma. All the underground hits.
All Moss Icon tracks. I heard you have a vinyl of every Big Daddy Kane record on German import.
I heard that you have a white label of every seminal dance 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 linndrum and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Pete Rock & C.L. Smooth record.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ohio Players,
Public Enemy,
The Wake,
Cluster,
Goldenarms,
Jandek,
Gang of Four,
Guru Guru,
This Heat,
Sonic Youth,
MDC,
Parry Music,
The Moody Blues,
Jacob Miller,
Banda Bassotti,
Mr. Review,
Deakin,
Robert Wyatt,
Janne Schatter,
The Alarm Clocks,
Alphaville,
Soft Machine,
Traffic Nightmare,
Lou Christie,
Echospace,
Althea and Donna,
the Normal,
Lou Reed & John Cale,
Darondo,
Funky Four + One,
Eden Ahbez,
Faraquet,
The United States of America,
Mad Mike,
The Fuzztones,
One Last Wish,
Strawberry Alarm Clock,
Stockholm Monsters,
Morten Harket,
Stiv Bators,
Newcleus,
Ossler,
Gil Scott Heron,
The Blackbyrds,
Matthew Bourne,
Dual Sessions,
Icehouse,
Howard Jones,
Urselle,
EPMD,
Rahsaan Roland Kirk,
Franke,
Mantronix,
The Monochrome Set,
The Index,
The Slackers,
Cameo,
The Doobie Brothers,
Blossom Toes,
Dorothy Ashby,
The Angels of Light,
The Knickerbockers,
Donald Byrd,
Big Daddy Kane, Big Daddy Kane, Big Daddy Kane, Big Daddy Kane.
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.