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 Ghana and from London.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Milan and Philadelphia.
I'm losing my edge to the art-school Portland 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 güiro 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 Pylon to the dance kids.
I played it at the Hacienda.
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 Dorothy Ashby. All the underground hits.
All The Vogues tracks. I heard you have a vinyl of every Adolescents record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a chamberlin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Dr. Dre and Snoop Doggy Dog record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Avey Tare & Kría Brekkan,
Sällskapet,
Graham Central Station,
Wire,
John Holt,
Jeff Mills,
Electric Light Orchestra,
The Fortunes,
Piero Umiliani,
Buzzcocks,
Juan Atkins,
The Fire Engines,
Gang Gang Dance,
Little Man,
Average White Band,
Lalo Schifrin,
Rahsaan Roland Kirk,
Joe Smooth,
Rufus Thomas,
Kevin Saunderson,
Gabor Szabo,
Pharaoh Sanders and the Fire Engines,
Wolf Eyes,
Kas Product,
Joey Negro,
Scratch Acid,
AZ,
Pagans,
Delon & Dalcan,
The Music Machine,
Sun Ra Arkestra,
Freddie Wadling,
Bluetip,
Gichy Dan,
Skriet,
Alphaville,
Barbara Tucker,
Harry Pussy,
The United States of America,
Swans,
Ronnie Foster,
John Coltrane,
Technova,
The Kinks,
Johnny Clarke,
Be Bop Deluxe,
Moby Grape,
Sandy B,
Janne Schatter,
Joyce Sims,
Judy Mowatt,
Slave,
Smog,
Lower 48,
Youth Brigade,
Wings,
Connie Case,
Lizzy Mercier Descloux,
The Monks,
the Soft Cell,
Scott Walker + Sunn O))),
Kool G Rap & DJ Polo, Kool G Rap & DJ Polo, Kool G Rap & DJ Polo, Kool G Rap & DJ Polo.
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.