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 Djibouti and from Spokane.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1972.
I'm losing my edge.
To all the kids in Delhi and Milan.
I'm losing my edge to the art-school Portland 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 snare sounds with much patience.
I was there when Nile Rodgers 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 Kerrie Biddell to the techno kids.
I played it at Cafe Wha.
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 Major Organ And The Adding Machine. All the underground hits.
All Mars tracks. I heard you have a vinyl of every Darondo 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 synthesizer and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Joey Negro record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Basic Channel,
Charles Mingus,
The Velvet Underground,
Sun Ra Arkestra,
Dual Sessions,
The Moleskins,
Hoover,
X-101,
The Seeds,
Oneida,
Slave,
Tomorrow,
The Fire Engines,
Guru Guru,
MDC,
Tubeway Army,
The Grass Roots,
Gang Green,
Mary Jane Girls,
DNA,
Cal Tjader,
Anakelly,
Big Daddy Kane,
Smog,
Sixth Finger,
The Busters,
the Bar-Kays,
Sex Pistols,
Frankie Knuckles,
Rhythm & Sound,
Lightning Bolt,
the Soft Cell,
Danielle Patucci,
Clear Light,
The Dave Clark Five,
The Gun Club,
Schoolly D,
ABC,
Barclay James Harvest,
The Slits,
Can,
the Normal,
Spandau Ballet,
Thompson Twins,
Major Organ And The Adding Machine,
Röyhkä ja Rättö ja Lehtisalo,
Q65,
The Sisters of Mercy,
Barrington Levy,
Visage,
Newcleus,
Colin Newman,
Patti Smith,
Barbara Tucker,
Marvin Gaye,
Unrelated Segments,
Scott Walker,
Brick,
Laurel Aitken,
The West Coast Pop Art Experimental Band,
Maurizio,
Amazonics,
Lakeside, Lakeside, Lakeside, Lakeside.
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.