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 Haiti and from Copenhagen.
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 1964 to 1976.
I'm losing my edge.
To all the kids in Glasgow and Lyon.
I'm losing my edge to the art-school Salvador 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the snare sounds with much patience.
I was there when Captain Beefheart 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 Fania All-Stars to the funk kids.
I played it at CBGB's.
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 Roxy Music. All the underground hits.
All Steve Hackett tracks. I heard you have a vinyl of every Nick Cave & The Bad Seeds 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 '60s cut and another box set from the '90s.
I hear you're buying a güiro and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Anthony Braxton record.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Chris & Cosey,
Electric Prunes,
Banda Bassotti,
Niagra,
Aural Exciters,
Boz Scaggs,
DJ Sneak,
Masters at Work,
U.S. Maple,
Mars,
Peter Gordon & Love of Life Orchestra,
Kango’s Stein Massive,
Arab on Radar,
The Wake,
The Chocolate Watch Band,
ABBA,
Grandmaster Flash,
Crash Course in Science,
AZ,
Gabor Szabo,
The Dead C,
Beasts of Bourbon,
Anthony Braxton,
Cameo,
The Doobie Brothers,
Jeff Lynne,
The Leaves,
China Crisis,
Gregory Isaacs,
Eli Mardock,
Moebius,
Kool G Rap & DJ Polo,
Infiniti,
Con Funk Shun,
The Standells,
The Motions,
The Slackers,
Liliput,
Colin Newman,
Carl Craig,
Massinfluence,
Todd Terry,
Mary Jane Girls,
Groovy Waters,
Barclay James Harvest,
Ice-T,
cv313,
New Age Steppers,
Kas Product,
Alice Coltrane,
Angry Samoans,
The Walker Brothers,
Oppenheimer Analysis,
Chris Corsano,
Sun City Girls,
Soft Machine,
The Music Machine,
Sugar Minott,
Skriet,
Stiv Bators,
EPMD,
Cabaret Voltaire,
Silicon Teens, Silicon Teens, Silicon Teens, Silicon Teens.
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.