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 Guinea-Bissau and from Sao Paulo.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1978.
I'm losing my edge.
To all the kids in Toronto and Tehran.
I'm losing my edge to the art-school Sao Paulo 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 Chic practice in a loft in New York.
I was working on the 808 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 Siglo XX to the grime kids.
I played it at the Spitz.
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 Unrelated Segments. All the underground hits.
All The Cosmic Jokers tracks. I heard you have a vinyl of every Glenn Branca record on German import.
I heard that you have a white label of every seminal punk 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 snare and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Jesper Dahlbäck record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-Ray Spex,
Con Funk Shun,
Ornette Coleman,
DJ Style,
Oppenheimer Analysis,
Jerry Gold Smith,
Toni Rubio,
The Trojans,
Cluster,
Sexual Harrassment,
Marine Girls,
LL Cool J,
The Walker Brothers,
The Offenders,
Bill Near,
Niagra,
Eric B and Rakim,
T.S.O.L.,
Tears for Fears,
Ultravox,
The Divine Comedy,
Funkadelic,
X-102,
The Last Poets,
Eric Copeland,
Organ,
Depeche Mode,
Jandek,
The J.B.'s,
Jeff Mills,
The Move,
Nils Olav,
Sonny Sharrock,
Livin' Joy,
The Blues Magoos,
The Human League,
Reuben Wilson,
Janne Schatter,
Mission of Burma,
The New Christs,
Bobby Sherman,
Bobby Hutcherson,
Blancmange,
Make Up,
Cheater Slicks,
Donald Byrd,
Visionaries,LMNO, T- Love & Iriscience,
Jerry's Kids,
Guru Guru,
Roger Hodgson,
Lindisfarne,
Arab on Radar,
Joey Negro,
Nick Fraelich,
Alton Ellis,
Don Cherry,
It's A Beautiful Day,
Ash Ra Tempel,
Johnny Clarke,
Jawbox,
The Moleskins, The Moleskins, The Moleskins, The Moleskins.
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.