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 Australia and from Columbus.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Tehran and Glasgow.
I'm losing my edge to the art-school Houston 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 spring reverb 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 Slick Rick to the punk 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 Pete Rock & C.L. Smooth. All the underground hits.
All Lindisfarne tracks. I heard you have a vinyl of every Lalann record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a mellotron and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Theoretical Girls record.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James White and The Blacks,
Groovy Waters,
Aswad,
Eyeless In Gaza,
Sad Lovers and Giants,
DJ Style,
Chris Corsano,
Aaron Thompson,
Brass Construction,
Angry Samoans,
Vaughan Mason & Crew,
Gang Gang Dance,
Public Image Ltd.,
Funkadelic,
Electric Light Orchestra,
Organ,
Crooked Eye,
Roy Ayers Ubiquity,
Marshall Jefferson,
Lucky Dragons,
Simply Red,
Reuben Wilson,
Blossom Toes,
The West Coast Pop Art Experimental Band,
Todd Rundgren,
The Fugs,
Can,
Scott Walker,
Maurizio,
Young Marble Giants,
Vainqueur,
Camron Feat. Memphis Bleek And Beenie Seigel,
David Axelrod,
Jesper Dahlback,
Wire,
Rod Modell,
Eve St. Jones,
Public Enemy,
Cecil Taylor,
The Angels of Light,
Isaac Hayes,
Adolescents,
Hoover,
Cameo,
Dorothy Ashby,
Sun Ra Arkestra,
Circle Jerks,
Scrapy,
a-ha,
Kurtis Blow,
Theoretical Girls,
8 Eyed Spy,
Silicon Teens,
Tres Demented,
The Toasters,
X-101,
Eurythmics,
Siglo XX,
Ludus,
Flipper,
Lungfish,
Major Organ And The Adding Machine, Major Organ And The Adding Machine, Major Organ And The Adding Machine, Major Organ And The Adding Machine.
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.