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 Pakistan and from Bologna.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1973.
I'm losing my edge.
To all the kids in Shanghai and Woodstock.
I'm losing my edge to the art-school Calgary 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 theremin 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 Nirvana to the rap kids.
I played it at the Astoria.
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 Rapeman. All the underground hits.
All the Normal tracks. I heard you have a vinyl of every the Bar-Kays 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 '50s cut and another box set from the '90s.
I hear you're buying a rhodes and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a David McCallum record.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Martian,
Andrew Ashong & Theo Parrish,
U.S. Maple,
Pierre Henry,
Minnie Riperton,
Q and Not U,
Oppenheimer Analysis,
The Velvet Underground,
Sound Behaviour,
Cymande,
The Electric Prunes,
Be Bop Deluxe,
Althea and Donna,
Pussy Galore,
Model 500,
Ultra Naté,
Rahsaan Roland Kirk,
James Chance & The Contortions,
June of 44,
Heavy D & The Boyz,
Barclay James Harvest,
Animal Collective,
The Techniques,
The J.B.'s,
The Slits,
Johnny Clarke,
Neil Young & Crazy Horse,
The Invisible,
48th St. Collective,
Gerry Rafferty,
Newcleus,
The Mighty Diamonds,
China Crisis,
Gil Scott-Heron and Jamie xx,
Lafayette Afro Rock Band,
Sun Ra,
Art Ensemble Of Chicago,
Sandy B,
Ash Ra Tempel,
Unwound,
The Gap Band,
New York Dolls,
Rowland S Howard / Lydia Lunch,
Alice Coltrane,
Sight & Sound,
Strawberry Alarm Clock,
Lou Reed & Metallica,
Ossler,
Mission of Burma,
A Certain Ratio,
Al Stewart,
cv313,
The Blackbyrds,
Black Moon,
Hashim,
Malaria!,
Connie Case,
Röyhkä ja Rättö ja Lehtisalo,
Kurtis Blow,
The Five Americans,
Pole, Pole, Pole, Pole.
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.