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 Lesotho and from Toronto.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1973.
I'm losing my edge.
To all the kids in Copenhagen and Woodstock.
I'm losing my edge to the art-school Milan 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 oboe 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 Liaisons Dangereuses to the jazz kids.
I played it at Cafe Wha.
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 Sun Ra. All the underground hits.
All Gong tracks. I heard you have a vinyl of every Traffic Nightmare record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a rhodes and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Orchestral Manoeuvres in the Dark record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gregory Isaacs,
Danielle Patucci,
Art Ensemble Of Chicago,
Audionom,
The Cramps,
Throbbing Gristle,
Selector Dub Narcotic,
Glambeats Corp.,
The New Christs,
Ralphi Rosario,
Stockholm Monsters,
The Young Rascals,
Terry Callier,
JFA,
Malaria!,
Maurizio,
The Golliwogs,
Blake Baxter,
The Fuzztones,
B.T. Express,
Ossler,
Banda Bassotti,
The Beau Brummels,
Trumans Water,
Funkadelic,
The Techniques,
Television,
Black Flag,
Supertramp,
The United States of America,
Lonnie Liston Smith,
Rhythm & Sound,
Röyhkä ja Rättö ja Lehtisalo,
The Invisible,
Lalo Schifrin,
Duran Duran,
Prince Buster,
The Names,
Index,
Groovy Waters,
Roxy Music,
Hardrive,
Mo-Dettes,
Gichy Dan,
Neil Young,
Bobby Byrd,
Bobby Sherman,
The Cure,
Laurel Aitken,
Suicide,
UT,
Reuben Wilson,
The Fire Engines,
Fort Wilson Riot,
London Community Gospel Choir,
Severed Heads,
Gang Starr,
Black Moon,
Morten Harket,
Wighnomy Brothers & Robag Wruhme,
Slave,
Mad Mike, Mad Mike, Mad Mike, Mad Mike.
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.