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 Mongolia and from Lyon.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Beijing and Lagos.
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 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 Tom Verlaine 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 Johnny Osbourne 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 Panda Bear. All the underground hits.
All Notorious BIG live in Amsterdam tracks. I heard you have a vinyl of every Suburban Knight record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a snare and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Rod Modell record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joyce Sims,
Radio Birdman,
Mandrill,
Crime,
Siglo XX,
Reuben Wilson,
Sun Ra Arkestra,
Swans,
Laurel Aitken,
Iggy Pop,
Fluxion,
Glambeats Corp.,
Orchestral Manoeuvres in the Dark,
Ralphi Rosario,
Erykah Badu,
London Community Gospel Choir,
Buzzcocks,
Marc Almond,
Derrick May,
Faraquet,
Yaz,
Gil Scott-Heron and Jamie xx,
Q and Not U,
Gil Scott Heron,
Zapp,
Bobby Sherman,
Red Lorry Yellow Lorry,
Darondo,
Monolake,
Terry Callier,
Royal Trux,
Can,
Jeff Mills,
Deadbeat,
Eyeless In Gaza,
Don Cherry,
Hasil Adkins,
Curtis Mayfield,
the Fania All-Stars,
Little Man,
Kool G Rap & DJ Polo,
Andrew Hill,
Pantytec,
The Remains,
The Zeros,
Grandmaster Flash and the Furious Five,
Public Enemy,
Scion,
Gregory Isaacs,
Ultra Naté,
Tomorrow,
Bang On A Can,
Marmalade,
Hoover,
Vaughan Mason & Crew,
The Move,
Frankie Knuckles,
The Black Dice,
Roy Ayers,
8 Eyed Spy,
Procol Harum,
Erasure,
The Five Americans,
D'Angelo, D'Angelo, D'Angelo, D'Angelo.
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.