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 Serbia and from Shanghai.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Delhi and New York.
I'm losing my edge to the art-school Salvador 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 snare 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 Oblivians to the rock 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 Stetsasonic. All the underground hits.
All Echospace tracks. I heard you have a vinyl of every Underground Resistance 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 '70s.
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 Masta Ace, Craig G, Kool G Rap, Big Daddy Kane record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Reuben Wilson,
Scientists,
Liaisons Dangereuses,
Gil Scott-Heron & Brian Jackson,
Pierre Henry,
Silicon Teens,
Sonic Youth,
Laurel Aitken,
Ultravox,
Scan 7,
The Modern Lovers,
The Five Americans,
Yaz,
Section 25,
Qualms,
Moebius,
Monks,
Warren Ellis,
Quantec,
Loose Ends,
Donny Hathaway,
DJ Style,
Country Teasers,
Cal Tjader,
The Misunderstood,
Magazine,
Quadrant,
Dead Boys,
The Fire Engines,
Gastr Del Sol,
Throbbing Gristle,
Ultramagnetic MC's,
Pet Shop Boys,
The Searchers,
Alison Limerick,
Crispy Ambulance,
The New Christs,
Bizarre Inc.,
Sticky Fingaz feat. Raekwon,
A Certain Ratio,
Mary Jane Girls,
Underground Resistance,
The Real Kids,
Lonnie Liston Smith,
Sly & The Family Stone,
Cluster,
the Human League,
Fear,
World's Most,
Electric Light Orchestra,
Desert Stars,
Kevin Saunderson,
Shoche,
Major Organ And The Adding Machine,
Scion,
Agitation Free,
Marmalade,
Robert Hood,
The Names,
Andrew Hill,
Pulsallama,
The Young Rascals,
Lucky Dragons, Lucky Dragons, Lucky Dragons, Lucky Dragons.
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.