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 Singapore and from New York.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Columbus and Columbus.
I'm losing my edge to the art-school Bremen 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the güiro 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 Gabor Szabo to the techno kids.
I played it at the Roxy.
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 Howard Jones. All the underground hits.
All Hot Snakes tracks. I heard you have a vinyl of every Clear Light 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 '80s cut and another box set from the '90s.
I hear you're buying an arpeggiator and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Todd Terry record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Minutemen,
Animal Collective,
Traffic Nightmare,
Cabaret Voltaire,
Visage,
kango's stein massive,
Los Fastidios,
Pulsallama,
Subhumans,
Andrew Ashong & Theo Parrish,
The Last Poets,
Ornette Coleman,
Davy DMX,
The Standells,
Wighnomy Brothers & Robag Wruhme,
Spandau Ballet,
Gerry Rafferty,
The Skatalites,
Trumans Water,
Slick Rick,
The Star Department,
Röyhkä ja Rättö ja Lehtisalo,
Throbbing Gristle,
Siouxsie and the Banshees,
Donny Hathaway,
The Monochrome Set,
The Zeros,
Alice Coltrane,
Radiohead,
Brass Construction,
UT,
Big Daddy Kane,
Groovy Waters,
Laurel Aitken,
Flipper,
Sandy B,
Pagans,
Tom Boy,
Kenny Larkin,
Ultramagnetic MC's,
Prince Buster,
FM Einheit,
Urselle,
Q and Not U,
June of 44,
Scratch Acid,
The Searchers,
Red Lorry Yellow Lorry,
Barry Ungar,
The Vogues,
Faust,
the Bar-Kays,
F. McDonald,
Barclay James Harvest,
Al Stewart,
LL Cool J,
Eric Dolphy,
DeepChord presents Echospace,
Kool Moe Dee,
Brick,
Stereo Dub, Stereo Dub, Stereo Dub, Stereo Dub.
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.