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 Eritrea and from Delhi.
But I was there.
I was there in 1967.
I was there at the first Rodriguez 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 1967 to 1972.
I'm losing my edge.
To all the kids in Glasgow and Toronto.
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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the chamberlin sounds with much patience.
I was there when Michael McDonald 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 The Names to the crunk kids.
I played it at the Roxy.
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 Sandy B. All the underground hits.
All Danielle Patucci tracks. I heard you have a vinyl of every Bob Dylan record on German import.
I heard that you have a white label of every seminal punk 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 snare and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Isaac Hayes record.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ponytail,
Alton Ellis,
Bill Wells,
Dark Day,
Quantec,
Bad Manners,
Gian Franco Pienzio,
Ultra Naté,
Sad Lovers and Giants,
Faraquet,
Mars,
Eddi Front,
Black Pus,
Avey Tare & Kría Brekkan,
Electric Prunes,
Piero Umiliani,
Young Marble Giants,
Ossler,
Pussy Galore,
Gil Scott Heron,
Bluetip,
DJ Style,
Wally Richardson,
Minnie Riperton,
Stiv Bators,
Sugar Minott,
The Remains,
Spandau Ballet,
the Swans,
Prince Buster,
10cc,
Ohio Players,
Godley & Creme,
DJ Sneak,
World's Most,
Sun Ra,
Big Daddy Kane,
Mark Hollis,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
The Flesh Eaters,
Theoretical Girls,
Marvin Gaye,
Hoover,
L. Decosne,
the Human League,
The Music Machine,
Symarip,
Notorious Big And Bone Thugs,
The Sound,
The Associates,
Patti Smith,
Blake Baxter,
Boredoms,
Deakin,
Half Japanese,
Eve St. Jones,
Mandrill,
Oppenheimer Analysis,
Brothers Johnson,
Rowland S Howard / Lydia Lunch,
Brass Construction,
U.S. Maple, U.S. Maple, U.S. Maple, U.S. Maple.
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.