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 Seychelles and from Milan.
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 1965 to 1975.
I'm losing my edge.
To all the kids in Shanghai and Accra.
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 Feelies practice in a loft in Haledon.
I was working on the harpsichord sounds with much patience.
I was there when Michael McDonald 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 Bobby Womack to the funk kids.
I played it at the Crocodile.
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 Joe Smooth. All the underground hits.
All DJ Style tracks. I heard you have a vinyl of every Sarah Menescal record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a linndrum and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Crime record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pantaleimon,
Alison Limerick,
Drexciya,
Sparks,
JFA,
Bobbi Humphrey,
Pete Rock & C.L. Smooth,
Liliput,
Maleditus Sound,
R.M.O.,
MDC,
Spandau Ballet,
Angry Samoans,
Sly & The Family Stone,
Lungfish,
John Foxx,
Eric Copeland,
Jerry Gold Smith,
Amon Düül II,
Vaughan Mason & Crew,
Joe Finger,
The Martian,
Barry Ungar,
Crispian St. Peters,
Susan Cadogan,
Nas,
Jesper Dahlbäck,
Supertramp,
This Heat,
Sonic Youth,
Derrick Morgan,
Bluetip,
CMW,
Rotary Connection,
Scan 7,
Ralphi Rosario,
X-Ray Spex,
The Leaves,
Duran Duran,
The Trojans,
Curtis Mayfield,
Maurizio,
Jacques Brel,
Outsiders,
Joensuu 1685,
Blancmange,
Rosa Yemen,
Avey Tare,
Avey Tare & Kría Brekkan,
The Evens,
Fifty Foot Hose,
Hardrive,
kango's stein massive,
Urselle,
Goldenarms,
Grauzone,
DeepChord presents Echospace,
Major Organ And The Adding Machine,
Art Ensemble Of Chicago,
Terrestrial Tones,
Pere Ubu, Pere Ubu, Pere Ubu, Pere Ubu.
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.