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 Marshall Islands and from Copenhagen.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Mumbai and Lille.
I'm losing my edge to the art-school Stockholm 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 harpsichord 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 Red Lorry Yellow Lorry to the punk kids.
I played it at the Spitz.
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 Black Moon. All the underground hits.
All Don Cherry tracks. I heard you have a vinyl of every Rakim record on German import.
I heard that you have a white label of every seminal grime 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 clarinet and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Ornette Coleman record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joe Finger,
Siglo XX,
Marvin Gaye,
The Blues Magoos,
Janne Schatter,
Mars,
Delta 5,
T.S.O.L.,
The Birthday Party,
Easy Going,
Procol Harum,
LL Cool J,
Motorama,
R.M.O.,
Rekid,
John Coltrane,
Brothers Johnson,
Joey Negro,
Deadbeat,
Alphaville,
Index,
K-Klass,
The Chocolate Watch Band,
Jimmy McGriff,
Tres Demented,
The Grass Roots,
Ultravox,
Idris Muhammad,
Man Parrish,
KRS-One,
Matthew Halsall,
Youth Brigade,
Gang Green,
Dual Sessions,
Infiniti,
Robert Görl,
The Wake,
Scientists,
Franke,
Moss Icon,
Marmalade,
Bobby Byrd,
Cluster,
The Royal Family And The Poor,
Pantytec,
Eddi Front,
The Blackbyrds,
Matthew Bourne,
Porter Ricks,
Ronnie Foster,
Marc Almond,
Terry Callier,
Joyce Sims,
June of 44,
Lalo Schifrin,
Rhythm & Sound,
The Fire Engines,
Charles Mingus,
CMW,
Yaz,
Erasure,
Byron Stingily,
Sad Lovers and Giants,
Traffic Nightmare, Traffic Nightmare, Traffic Nightmare, Traffic Nightmare.
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.