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 Swaziland and from Milan.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Salvador 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the rhodes 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 48th St. Collective to the grime 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 Dead Boys. All the underground hits.
All The Dirtbombs tracks. I heard you have a vinyl of every Pete Rock & C.L. Smooth 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 '50s cut and another box set from the '80s.
I hear you're buying a mellotron and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Brick record.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Susan Cadogan,
Sister Nancy,
B.T. Express,
Animal Collective,
Bush Tetras,
Theoretical Girls,
Joensuu 1685,
Crime,
Liliput,
Country Joe & The Fish,
Severed Heads,
Aswad,
Schoolly D,
Roxette,
James White and The Blacks,
Fluxion,
Scrapy,
The Golliwogs,
Funky Four + One,
Amazonics,
The Litter,
Lungfish,
Chris Corsano,
Ronan,
Matthew Halsall,
In Retrospect,
Von Mondo,
Roy Ayers Ubiquity,
Max Romeo,
Minutemen,
Tropical Tobacco,
Idris Muhammad,
The Durutti Column,
Heaven 17,
Davy DMX,
The Men They Couldn't Hang,
The Smiths,
Little Man,
Joe Smooth,
Harmonia,
Tom Boy,
Bang On A Can,
Kool G Rap & DJ Polo,
Fugazi,
Rhythim Is Rhythim,
The Toasters,
Arthur Verocai,
Oppenheimer Analysis,
Rowland S Howard / Lydia Lunch,
Peter and Kerry,
Royal Trux,
Main Source,
Boogie Down Productions,
Byron Stingily,
The Grass Roots,
L. Decosne,
Dorothy Ashby,
the Soft Cell,
Warsaw,
Half Japanese,
Gichy Dan,
De La Soul & Jungle Brothers, De La Soul & Jungle Brothers, De La Soul & Jungle Brothers, De La Soul & Jungle Brothers.
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.