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 Bosnia Herzegovina and from Mexico City.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 Accra and Lille.
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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the sitar 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 Heavy D & The Boyz to the jazz 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 Robert Görl. All the underground hits.
All The Star Department tracks. I heard you have a vinyl of every The Happenings 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 güiro and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Yaz record.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
David Axelrod,
The J.B.'s,
Moebius,
Country Joe & The Fish,
Fela Kuti,
Crispian St. Peters,
Soul Sonic Force,
F. McDonald,
Whodini,
The Associates,
Sight & Sound,
Reagan Youth,
Rosa Yemen,
Terry Callier,
K-Klass,
Motorama,
The Human League,
Franke,
Sex Pistols,
Gregory Isaacs,
Stockholm Monsters,
Fat Boys,
Cabaret Voltaire,
Monolake,
Sällskapet,
Lightning Bolt,
Skaos,
Smog,
Metal Thangz,
Nirvana,
Animal Collective,
Wire,
Connie Case,
Second Layer,
Sandy B,
Jacques Brel,
Easy Going,
Anthony Braxton,
Trumans Water,
Underground Resistance,
Ajijia Myrayebe,
Be Bop Deluxe,
Main Source,
Faraquet,
Nick Fraelich,
Agitation Free,
Rhythm & Sound,
Vainqueur,
Colin Newman,
The Dead C,
Kool G Rap & DJ Polo,
Jesper Dahlback,
The Doors,
the Swans,
Accadde A,
Bronski Beat,
Scientists,
Tres Demented,
AZ,
Eden Ahbez,
June of 44,
Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis.
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.