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 Kosovo and from Houston.
But I was there.
I was there in 1980.
I was there at the first Cybotron 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 1961 to 1976.
I'm losing my edge.
To all the kids in Houston and Portland.
I'm losing my edge to the art-school Columbus 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the rhodes 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 Graham Central Station to the funk kids.
I played it at the Astoria.
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 Stereo Dub. All the underground hits.
All The Modern Lovers tracks. I heard you have a vinyl of every Joy Division 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 '90s.
I hear you're buying a marimba and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a D'Angelo record.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bobby Sherman,
Black Moon,
The Pop Group,
Ronnie Foster,
Marc Almond,
Slave,
Ten City,
Livin' Joy,
Fear,
Red Lorry Yellow Lorry,
The Move,
Shuggie Otis,
Pharaoh Sanders and the Fire Engines,
Flash Fearless,
Freddie Wadling,
Glenn Branca,
Althea and Donna,
Joensuu 1685,
Nils Olav,
Cecil Taylor,
Big Daddy Kane,
Johnny Osbourne,
De La Soul & Jungle Brothers,
A Certain Ratio,
UT,
Adolescents,
Schoolly D,
The Index,
Sällskapet,
Joey Negro,
The J.B.'s,
Delta 5,
Hoover,
Cheater Slicks,
Warren Ellis,
the Fania All-Stars,
Byron Stingily,
The Alarm Clocks,
Brothers Johnson,
Marmalade,
Tropical Tobacco,
Alison Limerick,
MDC,
Y Pants,
Marshall Jefferson,
Magma,
Gang Green,
Drexciya,
The Music Machine,
The Men They Couldn't Hang,
Gang Gang Dance,
Peter & Gordon,
Andrew Ashong & Theo Parrish,
Echospace,
Aloha Tigers,
The Beau Brummels,
Roxette,
Mad Mike,
MC5,
Neil Young,
Gang of Four,
Pulsallama, Pulsallama, Pulsallama, Pulsallama.
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.