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 Tanzania and from Mexico City.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Philadelphia and Salvador.
I'm losing my edge to the art-school Mexico City 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 rhodes sounds with much patience.
I was there when Lou Reed 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 Ralphi Rosario to the grunge kids.
I played it at the Roxy.
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 Rotary Connection. All the underground hits.
All A Certain Ratio tracks. I heard you have a vinyl of every Max Romeo 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 '70s cut and another box set from the '90s.
I hear you're buying a mellotron and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Yaz record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gang Starr,
Y Pants,
Althea and Donna,
Tom Boy,
Blancmange,
Toni Rubio,
Rosa Yemen,
Tomorrow,
Art Ensemble Of Chicago,
Technova,
Ralphi Rosario,
Glambeats Corp.,
the Bar-Kays,
Connie Case,
New York Dolls,
Tres Demented,
Altered Images,
Faust,
The Dead C,
Ultra Naté,
Avey Tare,
Deakin,
Letta Mbulu,
Gang Gang Dance,
Drexciya,
The Barracudas,
The Mojo Men,
Harmonia,
Porter Ricks,
Sound Behaviour,
Terry Callier,
Bobby Byrd,
Peter and Kerry,
Kerrie Biddell,
The Associates,
Marc Almond,
Junior Murvin,
Mars,
Andrew Ashong & Theo Parrish,
Fat Boys,
The Red Krayola,
The Fall,
The Modern Lovers,
Rakim,
The Cowsills,
Byron Stingily,
Oneida,
Dennis Brown,
Scientists,
Minny Pops,
E-Dancer,
Bluetip,
Quando Quango,
Davy DMX,
Joy Division,
Saccharine Trust,
Wire,
Carl Craig,
LL Cool J,
Crash Course in Science,
Lizzy Mercier Descloux,
Scion,
Audionom,
Joensuu 1685,
Procol Harum, Procol Harum, Procol Harum, Procol Harum.
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.