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 Nepal and from Copenhagen.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Delhi and Philadelphia.
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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the spring reverb 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 Wings to the techno 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 The Moody Blues. All the underground hits.
All Oneida tracks. I heard you have a vinyl of every X-101 record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a snare and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Unrelated Segments record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sticky Fingaz feat. Raekwon,
Joy Division,
Ossler,
Dawn Penn,
Bush Tetras,
The Mummies,
The Standells,
Stockholm Monsters,
The Names,
Gichy Dan,
Camberwell Now,
Fela Kuti,
Kings Of Tomorrow,
Sexual Harrassment,
Camouflage,
Albert Ayler,
Rekid,
T.S.O.L.,
Rakim,
Neil Young & Crazy Horse,
Brand Nubian,
The Pretty Things,
Stereo Dub,
Robert Görl,
Yellowson,
The Sonics,
Mandrill,
Zapp,
The Walker Brothers,
Bill Wells,
Inner City,
Ponytail,
Maleditus Sound,
Fat Boys,
Half Japanese,
Ken Boothe,
Art Ensemble Of Chicago,
Don Cherry,
Jawbox,
Moby Grape,
Godley & Creme,
Oppenheimer Analysis,
The Move,
Harry Pussy,
Ash Ra Tempel,
Wally Richardson,
New Age Steppers,
The Fugs,
Rhythm & Sound,
Quantec,
Howard Jones,
The J.B.'s,
Mission of Burma,
The American Breed,
Clear Light,
Mo-Dettes,
Cabaret Voltaire,
Jerry Gold Smith,
In Retrospect,
Cecil Taylor,
Al Stewart,
John Holt,
10cc,
Barry Ungar,
the Bar-Kays, the Bar-Kays, the Bar-Kays, the Bar-Kays.
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.