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 Seychelles and from Hong Kong.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Shanghai and New York.
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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the marimba sounds with much patience.
I was there when Donald Fagen 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 James White and The Blacks to the grunge kids.
I played it at the Troubador.
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 Don Cherry. All the underground hits.
All Isaac Hayes tracks. I heard you have a vinyl of every The Saints record on German import.
I heard that you have a white label of every seminal disco 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 mellotron and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Blancmange record.
I hear that you and your band have sold your harpsichord and bought a güiro.
I hear that you and your band have sold your güiro and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Magazine,
Grandmaster Flash and the Furious Five,
Sam Rivers,
Lower 48,
Stereo Dub,
Heavy D & The Boyz,
Gastr Del Sol,
Ultravox,
The Barracudas,
Wasted Youth,
Scratch Acid,
Excepter,
Boogie Down Productions,
John Lydon,
Avey Tare & Kría Brekkan,
The Modern Lovers,
Ultra Naté,
Mad Mike,
Hashim,
The Trojans,
Parry Music,
Kaleidoscope,
KRS-One,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Minor Threat,
Schoolly D,
Gang Starr,
Oppenheimer Analysis,
Slave,
Nick Fraelich,
The Fugs,
Roger Hodgson,
Gong,
Flash Fearless,
Grey Daturas,
Kurtis Blow,
Mo-Dettes,
Pagans,
Camron Feat. Memphis Bleek And Beenie Seigel,
Röyhkä ja Rättö ja Lehtisalo,
Gil Scott Heron,
Panda Bear,
Thinking Fellers Union Local 282,
Connie Case,
Cheater Slicks,
Black Flag,
Scott Walker + Sunn O))),
Bobby Womack,
The Smoke,
Buzzcocks,
Liaisons Dangereuses,
Pharoah Sanders,
Rites of Spring,
Gian Franco Pienzio,
James Chance & The Contortions,
Soft Machine,
the Association,
Peter and Kerry,
Suicide,
A Certain Ratio,
Niagra,
Animal Collective, Animal Collective, Animal Collective, Animal Collective.
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.