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 Mali and from Philadelphia.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Jakarta and Beijing.
I'm losing my edge to the art-school Manila 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 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 Rufus Thomas to the jazz kids.
I played it at CBGB's.
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 Electric Prunes. All the underground hits.
All The Neon Judgement tracks. I heard you have a vinyl of every Public Enemy record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Siouxsie and the Banshees record.
I hear that you and your band have sold your chamberlin and bought an organ.
I hear that you and your band have sold your organ and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Beasts of Bourbon,
Nas,
New Age Steppers,
Toni Rubio,
The Black Dice,
Pulsallama,
Ten City,
Roxette,
Prince Buster,
Crash Course in Science,
Panda Bear,
Country Teasers,
Masters at Work,
The Dave Clark Five,
Cybotron,
Monks,
Boz Scaggs,
Alison Limerick,
Eric Copeland,
Ultramagnetic MC's,
Lyres,
Rahsaan Roland Kirk,
Porter Ricks,
The Detroit Cobras,
Shuggie Otis,
Todd Terry,
The Music Machine,
Echo & the Bunnymen,
Crispian St. Peters,
Ohio Players,
Newcleus,
Reagan Youth,
the Sonics,
Rakim,
Bobby Womack,
10cc,
Pussy Galore,
Ken Boothe,
Sexual Harrassment,
David Axelrod,
Super Lover Cee & Casanova Rud,
The Gun Club,
The Pop Group,
AZ,
The Five Americans,
Soul II Soul,
Quantec,
The Flesh Eaters,
Tim Buckley,
Mo-Dettes,
The Raincoats,
Scientists,
the Normal,
Black Pus,
Byron Stingily,
Amon Düül II,
Gang Gang Dance,
Kango’s Stein Massive,
Vladislav Delay,
Roger Hodgson,
Silicon Teens,
DJ Style,
LL Cool J,
Wolf Eyes,
Country Joe & The Fish, Country Joe & The Fish, Country Joe & The Fish, Country Joe & The Fish.
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.