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 Jordan and from Jakarta.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Lyon and Bremen.
I'm losing my edge to the art-school Edmonton 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 arpeggiator 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 Idris Muhammad to the crunk 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 The Toasters. All the underground hits.
All The Names tracks. I heard you have a vinyl of every Brick 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 '70s cut and another box set from the '70s.
I hear you're buying a sitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Crime record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pussy Galore,
The Searchers,
Aaron Thompson,
Erasure,
Brand Nubian,
Rhythm & Sound,
PIL,
Minutemen,
Little Man,
Deadbeat,
Simply Red,
Rakim,
Soul II Soul,
Roxette,
H. Thieme,
The Flesh Eaters,
Drexciya,
Public Image Ltd.,
X-102,
Flipper,
Cecil Taylor,
Fifty Foot Hose,
Technova,
Kas Product,
Byron Stingily,
Black Bananas,
The Fugs,
John Cale,
Piero Umiliani,
Lonnie Liston Smith,
Marshall Jefferson,
Wings,
Hoover,
Interpol,
Blancmange,
Monks,
Ronnie Foster,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Kinks,
Thompson Twins,
Nils Olav,
Ohio Players,
Kango’s Stein Massive,
E-Dancer,
Peter and Kerry,
Freddie Wadling,
Sun Ra,
Susan Cadogan,
Jeff Lynne,
Faust,
Lee Hazlewood,
David Bowie,
Adolescents,
Wighnomy Brothers & Robag Wruhme,
Jawbox,
The Blues Magoos,
Wally Richardson,
Kings Of Tomorrow,
Brass Construction,
Gary Puckett & The Union Gap,
Michelle Simonal,
Gil Scott-Heron and Jamie xx, Gil Scott-Heron and Jamie xx, Gil Scott-Heron and Jamie xx, Gil Scott-Heron and Jamie xx.
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.