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 Belize and from Columbus.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Manchester and Edmonton.
I'm losing my edge to the art-school Hong Kong 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 linndrum 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 R.M.O. to the grunge kids.
I played it at the Roxy.
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 X-102. All the underground hits.
All Sandy B tracks. I heard you have a vinyl of every Robert Hood record on German import.
I heard that you have a white label of every seminal jazz 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 güiro and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Amazonics record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Tremeloes,
The Cosmic Jokers,
The Beau Brummels,
Oneida,
Jesper Dahlback,
Alphaville,
Swans,
Gang Starr,
Sun City Girls,
Avey Tare's Slasher Flicks,
Cybotron,
Bobbi Humphrey,
Mr. Review,
Ultimate Spinach,
Kool Moe Dee,
The Zeros,
Peter and Kerry,
Ludus,
Half Japanese,
Wings,
Major Organ And The Adding Machine,
Ralphi Rosario,
Dawn Penn,
World's Most,
The Last Poets,
Tears for Fears,
Monolake,
Scientists,
Black Moon,
Toni Rubio,
Bad Manners,
Dark Day,
Fifty Foot Hose,
Bauhaus,
Eric B and Rakim,
The Birthday Party,
Procol Harum,
Kool G Rap & DJ Polo,
Jacob Miller,
Goldenarms,
Prince Buster,
Wolf Eyes,
T. Rex,
the Sonics,
Icehouse,
Clear Light,
ABBA,
Dave Gahan,
Sunsets and Hearts,
Aural Exciters,
Gian Franco Pienzio,
Pharaoh Sanders and the Fire Engines,
Stereo Dub,
Interpol,
Davy DMX,
The Buckinghams,
Sonic Youth,
Deepchord,
Hot Snakes,
Gil Scott Heron,
The Busters,
Man Parrish, Man Parrish, Man Parrish, Man Parrish.
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.