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 Peru and from Winnipeg.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Glasgow and Toronto.
I'm losing my edge to the art-school Lyon 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 sitar sounds with much patience.
I was there when David Bowie 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 Shuggie Otis to the crunk kids.
I played it at the Troubador.
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 Nick Fraelich. All the underground hits.
All Pantytec tracks. I heard you have a vinyl of every Gabor Szabo 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 '50s cut and another box set from the '70s.
I hear you're buying a sitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Derrick May record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Clear Light,
Japan,
Half Japanese,
The Trojans,
Bizarre Inc.,
Ken Boothe,
Black Sheep,
John Holt,
Desert Stars,
Mark Hollis,
Moby Grape,
E-Dancer,
Ajijia Myrayebe,
Faraquet,
Kauko Röyhkä ja Narttu,
UT,
T. Rex,
Hashim,
Qualms,
X-102,
In Retrospect,
Major Organ And The Adding Machine,
It's A Beautiful Day,
Althea and Donna,
Kings Of Tomorrow,
Black Moon,
Bob Dylan,
Newcleus,
The Moody Blues,
The Cure,
Con Funk Shun,
Quando Quango,
Brass Construction,
Public Image Ltd.,
Sarah Menescal,
Index,
Soft Machine,
Au Pairs,
Ohio Players,
Pylon,
Motorama,
The Golliwogs,
Tomorrow,
Marvin Gaye,
Sex Pistols,
June of 44,
CMW,
Todd Rundgren,
Henry Cow,
Marcia Griffiths,
Reagan Youth,
James White and The Blacks,
Dual Sessions,
Ponytail,
Toni Rubio,
The Skatalites,
The Pretty Things,
Goldenarms,
Isaac Hayes,
The Selecter,
Q65,
Big Daddy Kane,
The Angels of Light,
The Last Poets, The Last Poets, The Last Poets, The Last Poets.
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.