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 Antigua and from Stockholm.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Johannesburg and New York.
I'm losing my edge to the art-school Tehran 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 clarinet sounds with much patience.
I was there when Holger Czukay 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 It's A Beautiful Day to the rap 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 Kerrie Biddell. All the underground hits.
All Neu! tracks. I heard you have a vinyl of every Masters at Work 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 '70s cut and another box set from the '80s.
I hear you're buying a güiro and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Eli Mardock record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Association,
Notorious BIG live in Amsterdam,
Dennis Brown,
T. Rex,
Roger Hodgson,
Ohio Players,
Gabor Szabo,
The Sonics,
Darondo,
Fear,
Suicide,
Hashim,
Juan Atkins,
Siglo XX,
Khruangbin,
Pharaoh Sanders and the Fire Engines,
Yaz,
Crooked Eye,
Avey Tare & Kría Brekkan,
Bootsy Collins,
Nils Olav,
Radiohead,
La Düsseldorf,
Theoretical Girls,
Desert Stars,
Isaac Hayes,
Liliput,
Bob Dylan,
Eric B and Rakim,
Marvin Gaye,
Jeff Mills,
New York Dolls,
Supertramp,
Vaughan Mason & Crew,
Audionom,
Siouxsie and the Banshees,
Faust,
The Gun Club,
The Royal Family And The Poor,
The Martian,
Spandau Ballet,
Oblivians,
The Doobie Brothers,
Kango’s Stein Massive,
The Music Machine,
Andrew Hill,
Pierre Henry,
Big Daddy Kane,
Chris Corsano,
Peter & Gordon,
Pere Ubu,
The Saints,
Joe Finger,
Simply Red,
Kool G Rap & DJ Polo,
Bill Near,
Lonnie Liston Smith,
Barry Ungar,
Swans,
F. McDonald,
Cymande, Cymande, Cymande, Cymande.
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.