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 Equatorial Guinea and from Toronto.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1970.
I'm losing my edge.
To all the kids in Cairo and Portland.
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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the rhodes 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 Negative Approach to the punk kids.
I played it at the 40 Watt.
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 Lebanon Hanover. All the underground hits.
All D'Angelo tracks. I heard you have a vinyl of every The Evens record on German import.
I heard that you have a white label of every seminal rock 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 linndrum and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Star Department record.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pete Rock & C.L. Smooth,
The Associates,
Orchestral Manoeuvres in the Dark,
Roxette,
Underground Resistance,
Black Bananas,
Andrew Ashong & Theo Parrish,
Echospace,
the Slits,
Ultimate Spinach,
DeepChord presents Echospace,
Jesper Dahlback,
Alison Limerick,
Average White Band,
Crime,
Joensuu 1685,
Tears for Fears,
K-Klass,
Sugar Minott,
Procol Harum,
La Düsseldorf,
Dark Day,
Absolute Body Control,
Minny Pops,
Rosa Yemen,
Notorious BIG live in Amsterdam,
Man Eating Sloth,
DJ Style,
Crash Course in Science,
Delta 5,
Gichy Dan,
Technova,
The Searchers,
Fear,
KRS-One,
Sparks,
Brass Construction,
Jeff Lynne,
Model 500,
Gastr Del Sol,
Dawn Penn,
Flamin' Groovies,
Clear Light,
Cameo,
the Bar-Kays,
Janne Schatter,
Altered Images,
Icehouse,
Alphaville,
Von Mondo,
Nick Cave & The Bad Seeds,
Althea and Donna,
Sixth Finger,
AZ,
The Jesus and Mary Chain,
The Zeros,
Gil Scott-Heron and Jamie xx,
Kauko Röyhkä ja Narttu,
Animal Collective,
The Vogues,
Joey Negro,
Soft Cell,
Dorothy Ashby,
Oblivians, Oblivians, Oblivians, Oblivians.
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.