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 Syria and from Toronto.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Seoul and Sao Paulo.
I'm losing my edge to the art-school Shanghai 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 Chic practice in a loft in New York.
I was working on the güiro sounds with much patience.
I was there when Captain Beefheart 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 Sam Rivers to the rap kids.
I played it at the 40 Watt.
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 Ten City. All the underground hits.
All Sister Nancy tracks. I heard you have a vinyl of every Judy Mowatt record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a rhodes and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Interpol record.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wally Richardson,
Juan Atkins,
La Düsseldorf,
Subhumans,
Curtis Mayfield,
Rekid,
Yazoo,
Cymande,
Ken Boothe,
Rufus Thomas,
Thee Headcoats,
Kango’s Stein Massive,
Cal Tjader,
Skriet,
R.M.O.,
Panda Bear,
Flamin' Groovies,
Bronski Beat,
Soft Machine,
Archie Shepp,
Von Mondo,
Eden Ahbez,
Neu!,
Bobby Byrd,
Flash Fearless,
the Swans,
The Neon Judgement,
Ultimate Spinach,
Joensuu 1685,
Josef K,
a-ha,
The Pop Group,
The Litter,
Nik Kershaw,
Orchestral Manoeuvres in the Dark,
The Motions,
Brothers Johnson,
David Bowie,
Bad Manners,
Chris & Cosey,
Mary Jane Girls,
Gian Franco Pienzio,
the Association,
Gang Gang Dance,
Donny Hathaway,
Spoonie Gee,
Matthew Halsall,
Hardrive,
The West Coast Pop Art Experimental Band,
Red Lorry Yellow Lorry,
Skarface,
Little Man,
Sad Lovers and Giants,
Notorious Big And Bone Thugs,
The Jesus and Mary Chain,
Siglo XX,
Lou Reed & John Cale,
Blossom Toes,
Sun Ra,
Chrome,
Country Teasers,
Erasure,
Tim Buckley,
Gabor Szabo, Gabor Szabo, Gabor Szabo, Gabor Szabo.
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.