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 Israel and from Seoul.
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 1971.
I'm losing my edge.
To all the kids in Copenhagen and Tehran.
I'm losing my edge to the art-school Copenhagen 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 arpeggiator 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 Eric Dolphy to the grime kids.
I played it at Trash.
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 Suburban Knight. All the underground hits.
All Kas Product tracks. I heard you have a vinyl of every The Velvet Underground record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a spring reverb and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a 48th St. Collective record.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kool Moe Dee,
Alison Limerick,
John Coltrane,
The Peanut Butter Conspiracy,
Avey Tare's Slasher Flicks,
Cal Tjader,
The Mummies,
Marmalade,
Boogie Down Productions,
Rapeman,
Kings Of Tomorrow,
LL Cool J,
Richard Hell and the Voidoids,
ABC,
Banda Bassotti,
Matthew Bourne,
Joyce Sims,
Q65,
Jimmy McGriff,
Bootsy Collins,
The Last Poets,
Ultramagnetic MC's,
Toni Rubio,
Goldenarms,
Drexciya,
Cluster,
Electric Prunes,
Bluetip,
Sonny Sharrock,
The Modern Lovers,
Amon Düül II,
Fela Kuti,
Flipper,
Index,
Shoche,
MC5,
Buzzcocks,
Electric Light Orchestra,
Nils Olav,
Tom Boy,
Sarah Menescal,
The Music Machine,
The Real Kids,
Gil Scott Heron,
Dark Day,
Quando Quango,
Cheater Slicks,
The Grass Roots,
Deakin,
Kevin Saunderson,
The Slits,
Major Organ And The Adding Machine,
Television Personalities,
Max Romeo,
New York Dolls,
The Royal Family And The Poor,
Piero Umiliani,
Interpol,
Radio Birdman,
Crime,
New Order,
Spandau Ballet, Spandau Ballet, Spandau Ballet, Spandau Ballet.
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.