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 Papua New Guinea and from Beijing.
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 1966 to 1978.
I'm losing my edge.
To all the kids in Stockholm and Milan.
I'm losing my edge to the art-school Mumbai 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the arpeggiator 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 Eve St. Jones to the rap 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 Jeru the Damaja. All the underground hits.
All Country Joe & The Fish tracks. I heard you have a vinyl of every Spoonie Gee record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a chamberlin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Pylon record.
I hear that you and your band have sold your mellotron and bought a theremin.
I hear that you and your band have sold your theremin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Big Daddy Kane,
Barclay James Harvest,
B.T. Express,
Rotary Connection,
Massinfluence,
Gary Puckett & The Union Gap,
Gastr Del Sol,
Joensuu 1685,
Frankie Knuckles,
Tom Boy,
David McCallum,
Swell Maps,
Kool G Rap & DJ Polo,
Aural Exciters,
kango's stein massive,
Lalo Schifrin,
The Wake,
EPMD,
Barrington Levy,
Kings Of Tomorrow,
Lou Reed,
Cymande,
Cecil Taylor,
The Invisible,
Q65,
Motorama,
John Lydon,
Rod Modell,
Popol Vuh,
The Modern Lovers,
Colin Newman,
Underground Resistance,
LL Cool J,
Howard Jones,
Tears for Fears,
Hot Snakes,
Bush Tetras,
The Electric Prunes,
Darondo,
PIL,
Wasted Youth,
Ossler,
The Five Americans,
the Soft Cell,
Tropical Tobacco,
Jesper Dahlbäck,
The Litter,
Marcia Griffiths,
Cluster,
The Sonics,
Amazonics,
Ken Boothe,
Man Parrish,
The Detroit Cobras,
ABBA,
Kas Product,
La Düsseldorf,
Marvin Gaye,
Cheater Slicks,
Donald Byrd, Donald Byrd, Donald Byrd, Donald Byrd.
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.