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 Sudan and from Mexico City.
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 1962 to 1979.
I'm losing my edge.
To all the kids in Philadelphia and Hong Kong.
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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the chamberlin 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 Sugar Minott to the disco kids.
I played it at the 40 Watt.
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 Roxette. All the underground hits.
All Sticky Fingaz feat. Raekwon tracks. I heard you have a vinyl of every Be Bop Deluxe 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 '80s.
I hear you're buying a 808 and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Aaron Thompson record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tears for Fears,
the Fania All-Stars,
Sandy B,
New Age Steppers,
Be Bop Deluxe,
Deakin,
Barrington Levy,
Echo & the Bunnymen,
Letta Mbulu,
Gang Gang Dance,
Scrapy,
Intrusion,
Half Japanese,
Boogie Down Productions,
Al Stewart,
Slave,
Warren Ellis,
ABC,
Pantaleimon,
Iggy Pop,
The Knickerbockers,
Dorothy Ashby,
Man Parrish,
Liaisons Dangereuses,
Rakim,
Cameo,
Lalo Schifrin,
Roger Hodgson,
Orchestral Manoeuvres in the Dark,
Kerri Chandler,
Soft Machine,
Saccharine Trust,
Grey Daturas,
The Saints,
De La Soul & Jungle Brothers,
The Men They Couldn't Hang,
Pere Ubu,
Babytalk,
Gastr Del Sol,
Marcia Griffiths,
Cheater Slicks,
Jandek,
Trumans Water,
Adolescents,
Joensuu 1685,
Frankie Knuckles,
F. McDonald,
Sex Pistols,
Grandmaster Flash,
Tim Buckley,
The Leaves,
Kool G Rap & DJ Polo,
The Blues Magoos,
Fifty Foot Hose,
The Neon Judgement,
David Axelrod,
Can,
Infiniti,
the Sonics,
Porter Ricks,
Heaven 17,
Max Romeo,
The Five Americans, The Five Americans, The Five Americans, The Five Americans.
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.