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 Morocco and from Spokane.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Salvador and Edmonton.
I'm losing my edge to the art-school Houston 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 Feelies practice in a loft in Haledon.
I was working on the synthesizer sounds with much patience.
I was there when Robert Palmer 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 Minor Threat to the jazz kids.
I played it at Trash.
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 N.O.R.E. Featuring Pharrell. All the underground hits.
All Roy Ayers Ubiquity tracks. I heard you have a vinyl of every Maleditus Sound 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 linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Bang on a Can All-Stars record.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
MDC,
The Doobie Brothers,
Sun Ra Arkestra,
Deepchord,
Lungfish,
Todd Terry,
Lonnie Liston Smith,
Cal Tjader,
The Moleskins,
Kool Moe Dee,
Selector Dub Narcotic,
Kerri Chandler,
Yellowson,
The Fall,
Jesper Dahlback,
Suicide,
Dawn Penn,
Ossler,
Accadde A,
Pantaleimon,
The Gap Band,
Donald Byrd,
Slick Rick,
Röyhkä ja Rättö ja Lehtisalo,
Smog,
Suburban Knight,
Justin Hinds & The Dominoes,
Young Marble Giants,
Sparks,
T.S.O.L.,
Fort Wilson Riot,
Stetsasonic,
Soft Cell,
Quadrant,
Oneida,
The Index,
David McCallum,
Public Enemy,
Blake Baxter,
Jeff Mills,
Royal Trux,
Juan Atkins,
B.T. Express,
Glambeats Corp.,
Notorious BIG live in Amsterdam,
F. McDonald,
Monolake,
Popol Vuh,
Red Lorry Yellow Lorry,
Sugar Minott,
Frankie Knuckles,
Black Moon,
Sight & Sound,
China Crisis,
The Real Kids,
Pylon,
Johnny Clarke,
Lalo Schifrin,
Thinking Fellers Union Local 282,
Funkadelic, Funkadelic, Funkadelic, Funkadelic.
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.