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 Guatemala and from Sao Paulo.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Philadelphia and New York.
I'm losing my edge to the art-school Tokyo 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 arpeggiator sounds with much patience.
I was there when David Bowie 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 Sad Lovers and Giants to the rap 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 Sarah Menescal. All the underground hits.
All Kings Of Tomorrow tracks. I heard you have a vinyl of every Heavy D & The Boyz 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 '70s cut and another box set from the '70s.
I hear you're buying an oboe and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Slave record.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Arab on Radar,
Make Up,
Delon & Dalcan,
Scott Walker + Sunn O))),
Thinking Fellers Union Local 282,
Cheater Slicks,
Tim Buckley,
Camouflage,
Flamin' Groovies,
Gil Scott-Heron & Brian Jackson,
Moby Grape,
Radiopuhelimet,
Art Ensemble Of Chicago,
The Litter,
Nils Olav,
Mars,
The Zeros,
Wire,
The Royal Family And The Poor,
The Divine Comedy,
Second Layer,
The Mummies,
London Community Gospel Choir,
Big Daddy Kane,
The Offenders,
Vladislav Delay,
Little Man,
Schoolly D,
the Swans,
Magma,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Crime,
Mission of Burma,
Roxette,
It's A Beautiful Day,
John Holt,
Black Flag,
Symarip,
Sam Rivers,
The Wake,
Gil Scott-Heron and Jamie xx,
Los Fastidios,
Crispian St. Peters,
Bizarre Inc.,
La Düsseldorf,
K-Klass,
Heaven 17,
Mary Jane Girls,
Sixth Finger,
Spandau Ballet,
Fort Wilson Riot,
Brand Nubian,
Stereo Dub,
Oneida,
Rowland S Howard / Lydia Lunch,
Godley & Creme,
Dorothy Ashby,
Todd Terry,
Ten City,
The Gories,
Larry & the Blue Notes, Larry & the Blue Notes, Larry & the Blue Notes, Larry & the Blue Notes.
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.