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 Bahamas and from Seoul.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Calgary and Lagos.
I'm losing my edge to the art-school Beijing 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 organ sounds with much patience.
I was there when David Bowie 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 Faust to the crunk 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 Lou Reed. All the underground hits.
All Mark Hollis tracks. I heard you have a vinyl of every the Fania All-Stars 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 '60s cut and another box set from the '80s.
I hear you're buying a 808 and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Moss Icon record.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
David Axelrod,
The Jesus and Mary Chain,
Pete Rock & C.L. Smooth,
The Selecter,
The Birthday Party,
Strawberry Alarm Clock,
Jacques Brel,
Shuggie Otis,
Curtis Mayfield,
Bush Tetras,
Hasil Adkins,
Arab on Radar,
DNA,
Negative Approach,
Absolute Body Control,
The Moleskins,
Depeche Mode,
Pere Ubu,
Public Image Ltd.,
The Fugs,
Rowland S Howard / Lydia Lunch,
Ronnie Foster,
Drexciya,
Avey Tare & Kría Brekkan,
the Soft Cell,
Crooked Eye,
Soul II Soul,
This Heat,
Outsiders,
Byron Stingily,
Avey Tare's Slasher Flicks,
Eric B and Rakim,
Excepter,
Kool G Rap & DJ Polo,
Glenn Branca,
the Fania All-Stars,
Icehouse,
Altered Images,
Freddie Wadling,
Grey Daturas,
MC5,
Bootsy's Rubber Band,
Aloha Tigers,
The Toasters,
Barbara Tucker,
Zapp,
Glambeats Corp.,
Buzzcocks,
Rod Modell,
The Wake,
The Victims,
Siglo XX,
K-Klass,
Kayak,
Gang Starr,
Tropical Tobacco,
Country Joe & The Fish,
Bobby Womack,
Malaria!,
Man Parrish,
Bob Dylan, Bob Dylan, Bob Dylan, Bob Dylan.
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.