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 Sierra Leone and from Mumbai.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1971.
I'm losing my edge.
To all the kids in Beijing and Sao Paulo.
I'm losing my edge to the art-school Jakarta 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the marimba sounds with much patience.
I was there when Donald Fagen 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 Johnny Osbourne to the dance kids.
I played it at the Crocodile.
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 The Remains. All the underground hits.
All Gian Franco Pienzio tracks. I heard you have a vinyl of every Lindisfarne record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Minnie Riperton record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stetsasonic,
Eric Dolphy,
Sex Pistols,
Ken Boothe,
The United States of America,
Alphaville,
Sonic Youth,
Reuben Wilson,
Radiohead,
Panda Bear,
The Cowsills,
Mary Jane Girls,
Graham Central Station,
Byron Stingily,
Mission of Burma,
Gang of Four,
Masters at Work,
Metal Thangz,
Art Ensemble Of Chicago,
Suburban Knight,
Lyres,
Jacob Miller,
Todd Terry,
The Raincoats,
Max Romeo,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Lower 48,
The West Coast Pop Art Experimental Band,
The Chocolate Watch Band,
Nik Kershaw,
Maleditus Sound,
Little Man,
CMW,
Mr. Review,
Eden Ahbez,
a-ha,
the Swans,
The Pop Group,
Lebanon Hanover,
Manfred Mann's Earth Band,
Scott Walker,
Ossler,
John Foxx,
Sun City Girls,
Ultra Naté,
Letta Mbulu,
Boz Scaggs,
Kings Of Tomorrow,
Yellowson,
The Cramps,
Toni Rubio,
Monolake,
Donny Hathaway,
Motorama,
Man Eating Sloth,
The Shadows of Knight,
Curtis Mayfield,
The Techniques,
This Heat,
Yaz,
Arab on Radar, Arab on Radar, Arab on Radar, Arab on Radar.
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.