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 New Zealand and from Woodstock.
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 1964 to 1978.
I'm losing my edge.
To all the kids in Sao Paulo and Accra.
I'm losing my edge to the art-school Cairo 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 at the first Suicide practice in a loft in New York.
I was working on the snare sounds with much patience.
I was there when Nile Rodgers 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 Monks to the rock 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 Cal Tjader. All the underground hits.
All The Cramps tracks. I heard you have a vinyl of every Mars record on German import.
I heard that you have a white label of every seminal funk 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 a clarinet and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Gabor Szabo record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marshall Jefferson,
Half Japanese,
Glambeats Corp.,
Ronan,
Make Up,
John Holt,
Neu!,
Donny Hathaway,
Pole,
Scion,
Mantronix,
Röyhkä ja Rättö ja Lehtisalo,
Marmalade,
The Associates,
James Chance & The Contortions,
Can,
Derrick Morgan,
Deadbeat,
Bobby Sherman,
Groovy Waters,
Sun Ra Arkestra,
cv313,
Toni Rubio,
Japan,
Severed Heads,
Man Eating Sloth,
Slave,
Gang of Four,
Bizarre Inc.,
Grauzone,
Harmonia,
Strawberry Alarm Clock,
A Flock of Seagulls,
Ludus,
Radiohead,
Bobbi Humphrey,
The Walker Brothers,
Nick Fraelich,
The Misunderstood,
Newcleus,
Mark Hollis,
Hasil Adkins,
The Moody Blues,
Laurel Aitken,
Little Man,
Tommy Roe,
the Germs,
Drexciya,
Johnny Osbourne,
Radio Birdman,
Visionaries,LMNO, T- Love & Iriscience,
David McCallum,
Eve St. Jones,
Subhumans,
Television Personalities,
Peter Gordon & Love of Life Orchestra,
Main Source,
Rufus Thomas,
Grandmaster Flash and the Furious Five,
Lebanon Hanover,
The Kinks,
Public Enemy, Public Enemy, Public Enemy, Public Enemy.
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.