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 Latvia and from Edmonton.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1978.
I'm losing my edge.
To all the kids in Seoul and Philadelphia.
I'm losing my edge to the art-school Spokane 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 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 Judy Mowatt to the jazz 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 Isaac Hayes. All the underground hits.
All Cheater Slicks tracks. I heard you have a vinyl of every Lungfish 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 '80s cut and another box set from the '70s.
I hear you're buying a güiro and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Rufus Thomas record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sonny Sharrock,
Masters at Work,
Circle Jerks,
Rakim,
Alton Ellis,
Albert Ayler,
Soulsonic Force,
Crooked Eye,
Crispian St. Peters,
Radiopuhelimet,
Pete Rock & C.L. Smooth,
Qualms,
Frankie Knuckles,
Cal Tjader,
Avey Tare,
The Birthday Party,
In Retrospect,
Barclay James Harvest,
The Fall,
Eden Ahbez,
Neil Young & Crazy Horse,
Drexciya,
Franke,
DNA,
Country Teasers,
Trumans Water,
Brass Construction,
R.M.O.,
Dave Gahan,
Ornette Coleman,
Wasted Youth,
Barry Ungar,
Buzzcocks,
Gang Green,
Lightning Bolt,
Grandmaster Flash,
The Knickerbockers,
The West Coast Pop Art Experimental Band,
The Star Department,
Gang of Four,
Gil Scott-Heron & Brian Jackson,
The Fortunes,
These Immortal Souls,
The Toasters,
Leonard Cohen,
This Heat,
Nas,
The Skatalites,
The Alarm Clocks,
Bob Dylan,
The Flesh Eaters,
Oppenheimer Analysis,
Gil Scott Heron,
Anthony Braxton,
U.S. Maple,
Country Joe & The Fish,
The Selecter,
Selector Dub Narcotic,
The Royal Family And The Poor,
The Residents,
Lyres,
Can,
Ultramagnetic MC's, Ultramagnetic MC's, Ultramagnetic MC's, Ultramagnetic MC's.
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.