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 Syria and from Sao Paulo.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Jakarta and Winnipeg.
I'm losing my edge to the art-school Delhi 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 clarinet sounds with much patience.
I was there when Robert Palmer 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 the Normal to the crunk 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 Alison Limerick. All the underground hits.
All Sun Ra Arkestra tracks. I heard you have a vinyl of every Bobby Womack record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a chamberlin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Wally Richardson record.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Drexciya,
Alice Coltrane,
Cameo,
Roy Ayers,
John Holt,
Kings Of Tomorrow,
Gang of Four,
Index,
Donny Hathaway,
Andrew Ashong & Theo Parrish,
Rakim,
The United States of America,
Subhumans,
Kool G Rap & DJ Polo,
Johnny Clarke,
Popol Vuh,
Danielle Patucci,
Mandrill,
Sight & Sound,
Marc Almond,
Kas Product,
Ronnie Foster,
Harry Pussy,
R.M.O.,
The Electric Prunes,
Robert Görl,
Graham Central Station,
Erasure,
Animal Collective,
Dark Day,
Dr. Dre and Snoop Doggy Dog,
Jeff Lynne,
Joe Finger,
Niagra,
The Offenders,
Thinking Fellers Union Local 282,
Kauko Röyhkä ja Narttu,
The J.B.'s,
Section 25,
Glenn Branca,
Bobby Byrd,
Ossler,
Notorious Big And Bone Thugs,
Ice-T,
Tomorrow,
The Cosmic Jokers,
Röyhkä ja Rättö ja Lehtisalo,
ABBA,
Reagan Youth,
Fela Kuti,
Harmonia,
Duran Duran,
Ralphi Rosario,
The Fall,
Don Cherry,
Ituana,
Sällskapet,
Matthew Bourne,
DNA,
Fluxion,
Electric Light Orchestra,
Half Japanese, Half Japanese, Half Japanese, Half Japanese.
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.