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 Qatar and from Glasgow.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1969 to 1974.
I'm losing my edge.
To all the kids in New York and Milan.
I'm losing my edge to the art-school New York 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the synthesizer sounds with much patience.
I was there when Lou Reed 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 Pete Rock & C.L. Smooth to the grime kids.
I played it at Trash.
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 Jesper Dahlback. All the underground hits.
All Magma tracks. I heard you have a vinyl of every Warsaw record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a clarinet and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Rakim record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Royal Family And The Poor,
Joyce Sims,
The Dead C,
Ultravox,
Eli Mardock,
Bill Near,
Gil Scott Heron,
The Smoke,
In Retrospect,
48th St. Collective,
James Chance & The Contortions,
Howard Jones,
Joensuu 1685,
D'Angelo,
Black Sheep,
The Doors,
Camron Feat. Memphis Bleek And Beenie Seigel,
Chrome,
Blake Baxter,
Lalann,
Liliput,
Crash Course in Science,
Inner City,
Hasil Adkins,
Dr. Dre and Snoop Doggy Dog,
Basic Channel,
The Blues Magoos,
Ludus,
Alphaville,
Zero Boys,
Heavy D & The Boyz,
Oppenheimer Analysis,
Ultra Naté,
The Toasters,
Amon Düül II,
Can,
Avey Tare's Slasher Flicks,
Swans,
Sight & Sound,
The Stooges,
Traffic Nightmare,
Pulsallama,
A Certain Ratio,
Skaos,
Slave,
X-101,
Massinfluence,
Babytalk,
Radiohead,
Faust,
K-Klass,
James White and The Blacks,
David McCallum,
the Normal,
The Mojo Men,
Maleditus Sound,
Supertramp,
Cameo,
Magazine,
The Pop Group,
Gang of Four,
The Cure,
Reuben Wilson, Reuben Wilson, Reuben Wilson, Reuben Wilson.
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.