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 Mauritius and from Houston.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1974.
I'm losing my edge.
To all the kids in Jakarta and Woodstock.
I'm losing my edge to the art-school Copenhagen 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the linndrum 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 Kurtis Blow to the rock kids.
I played it at the Troubador.
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 Tomorrow. All the underground hits.
All Half Japanese tracks. I heard you have a vinyl of every The Vogues record on German import.
I heard that you have a white label of every seminal dance 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 spring reverb and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Terry Callier record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
New Age Steppers,
Mars,
Pantaleimon,
The Gories,
Young Marble Giants,
The Gladiators,
Harry Pussy,
Funky Four + One,
The Names,
Gregory Isaacs,
Dr. Dre and Snoop Doggy Dog,
David McCallum,
Robert Hood,
Stockholm Monsters,
Youth Brigade,
Barbara Tucker,
Royal Trux,
Alison Limerick,
The Tremeloes,
Public Enemy,
Ultimate Spinach,
The Sound,
Fear,
D'Angelo,
Gary Puckett & The Union Gap,
Infiniti,
Aloha Tigers,
DJ Style,
Bang on a Can All-Stars,
10cc,
Circle Jerks,
Can,
Dead Boys,
Crispian St. Peters,
The Angels of Light,
The Golliwogs,
Marine Girls,
Gian Franco Pienzio,
Negative Approach,
Dorothy Ashby,
Kurtis Blow,
Barry Ungar,
Colin Newman,
Ornette Coleman,
Skaos,
Agitation Free,
London Community Gospel Choir,
X-101,
Nico,
Warsaw,
Hashim,
CMW,
The Alarm Clocks,
Aswad,
Cabaret Voltaire,
Frankie Knuckles,
Radiopuhelimet,
Peter and Kerry,
Supertramp,
Junior Murvin,
Echospace,
Kevin Saunderson,
Masters at Work, Masters at Work, Masters at Work, Masters at Work.
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.