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 Malawi and from Portland.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 Stockholm and Mumbai.
I'm losing my edge to the art-school Manila 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 1983 at the first Lewis practice in a loft in Vancouver.
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 Mary Jane Girls to the disco 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 The Zeros. All the underground hits.
All Judy Mowatt tracks. I heard you have a vinyl of every Teenage Jesus and the Jerks record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a theremin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Pantaleimon record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mandrill,
Ultramagnetic MC's,
The Standells,
Brass Construction,
The Evens,
Yusef Lateef,
Television,
Morten Harket,
Slave,
Quadrant,
Wighnomy Brothers & Robag Wruhme,
Glambeats Corp.,
Eric B and Rakim,
Aaron Thompson,
Ultimate Spinach,
The Neon Judgement,
Heaven 17,
Boogie Down Productions,
Tears for Fears,
The Toasters,
Arthur Verocai,
T.S.O.L.,
Tommy Roe,
Liaisons Dangereuses,
Nirvana,
Sun Ra,
The Smoke,
Sparks,
Kings Of Tomorrow,
Isaac Hayes,
Andrew Hill,
Swell Maps,
Letta Mbulu,
Joy Division,
Scott Walker,
Sandy B,
Albert Ayler,
Arab on Radar,
the Sonics,
Blossom Toes,
Prince Buster,
Kool G Rap & DJ Polo,
Nas,
Ossler,
Visionaries,LMNO, T- Love & Iriscience,
Groovy Waters,
Thompson Twins,
The Trojans,
Oppenheimer Analysis,
Tom Boy,
Rhythim Is Rhythim,
U.S. Maple,
Laurel Aitken,
Joensuu 1685,
Kurtis Blow,
The Cosmic Jokers,
Bauhaus,
The Buckinghams,
The Busters,
New Age Steppers,
Kool Moe Dee,
The Mojo Men, The Mojo Men, The Mojo Men, The Mojo Men.
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.