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 Jordan and from Tehran.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Shanghai and Madrid.
I'm losing my edge to the art-school Seoul 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 snare 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 Camron Feat. Memphis Bleek And Beenie Seigel to the crunk kids.
I played it at the Troubador.
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 Kerri Chandler. All the underground hits.
All Echospace tracks. I heard you have a vinyl of every John Lydon record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a guitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Pharoah Sanders record.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-101,
Gil Scott-Heron & Brian Jackson,
Hardrive,
Andrew Hill,
Carl Craig,
David McCallum,
The Searchers,
The Toasters,
Delta 5,
The Young Rascals,
Rufus Thomas,
Fad Gadget,
Malaria!,
Howard Jones,
The Royal Family And The Poor,
The Saints,
Kings Of Tomorrow,
Index,
Grey Daturas,
Jandek,
New Order,
Alison Limerick,
The Mighty Diamonds,
Intrusion,
Oppenheimer Analysis,
Althea and Donna,
Pere Ubu,
Nick Fraelich,
Bauhaus,
Bush Tetras,
Excepter,
Sällskapet,
Public Enemy,
Monolake,
The Modern Lovers,
T. Rex,
Maleditus Sound,
Suburban Knight,
Sugar Minott,
Andrew Ashong & Theo Parrish,
Amon Düül II,
The American Breed,
Pharaoh Sanders and the Fire Engines,
Frankie Knuckles,
Joe Smooth,
The Invisible,
Bang on a Can All-Stars,
Ohio Players,
The Selecter,
Hoover,
Juan Atkins,
Slave,
Cymande,
Avey Tare & Kría Brekkan,
Minny Pops,
Dead Boys,
Curtis Mayfield,
Zero Boys,
The Divine Comedy,
Gastr Del Sol,
D'Angelo,
Gang Gang Dance,
Spandau Ballet,
The Fuzztones,
The Smiths, The Smiths, The Smiths, The Smiths.
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.