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 Azerbaijan and from New York.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Mexico City and Stockholm.
I'm losing my edge to the art-school Philadelphia 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the linndrum sounds with much patience.
I was there when Captain Beefheart 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 The Dave Clark Five to the electroclash kids.
I played it at CBGB's.
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 Brand Nubian. All the underground hits.
All Alphaville tracks. I heard you have a vinyl of every Schoolly D record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a guitar and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Hasil Adkins record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Pantytec,
Basic Channel,
Chris & Cosey,
Dawn Penn,
Shoche,
Glenn Branca,
Underground Resistance,
Interpol,
Faraquet,
Sandy B,
Section 25,
Negative Approach,
Brick,
D'Angelo,
Kenny Larkin,
Monks,
Chris Corsano,
Magazine,
Ituana,
Bobby Byrd,
Notorious BIG live in Amsterdam,
Pete Rock & C.L. Smooth,
Roy Ayers Ubiquity,
Barry Ungar,
Absolute Body Control,
John Foxx,
H. Thieme,
The Alarm Clocks,
Aaron Thompson,
Gil Scott-Heron and Jamie xx,
Soft Cell,
Andrew Ashong & Theo Parrish,
Super Lover Cee & Casanova Rud,
Mission of Burma,
Ultramagnetic MC's,
Rekid,
Hoover,
Lakeside,
Big Daddy Kane,
Jerry Gold Smith,
Severed Heads,
Ken Boothe,
Scratch Acid,
Technova,
Warsaw,
The American Breed,
Swell Maps,
Harry Pussy,
Soulsonic Force,
Eric B and Rakim,
Dave Gahan,
Kool Moe Dee,
Gichy Dan,
The Techniques,
The Doors,
Qualms,
The Tremeloes,
Black Moon,
The Mojo Men,
Jerry's Kids,
Spoonie Gee,
Cameo, Cameo, Cameo, Cameo.
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.