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 Korea South and from Edmonton.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1978.
I'm losing my edge.
To all the kids in Lille and Stockholm.
I'm losing my edge to the art-school Shanghai 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the chamberlin sounds with much patience.
I was there when Michael McDonald 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 Grandmaster Flash to the techno kids.
I played it at the Hacienda.
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 Rakim. All the underground hits.
All The Vogues tracks. I heard you have a vinyl of every Kevin Saunderson 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 '70s cut and another box set from the '90s.
I hear you're buying a linndrum and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Kas Product record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Young Marble Giants,
Whodini,
Kango’s Stein Massive,
Talk Talk,
Smog,
Country Joe & The Fish,
The Moleskins,
Panda Bear,
Cameo,
The Gladiators,
Rites of Spring,
Buzzcocks,
Rosa Yemen,
Justin Hinds & The Dominoes,
Vainqueur,
Dr. Dre and Snoop Doggy Dog,
Godley & Creme,
The Evens,
Larry & the Blue Notes,
Newcleus,
Visage,
Skarface,
DJ Style,
Rhythm & Sound,
The Tremeloes,
Deadbeat,
Kool G Rap & DJ Polo,
Arab on Radar,
Flamin' Groovies,
Sonny Sharrock,
Anthony Braxton,
The Techniques,
Kauko Röyhkä ja Narttu,
Bobby Womack,
The Beau Brummels,
Gang Green,
Nils Olav,
Rekid,
Niagra,
Danielle Patucci,
Neil Young,
L. Decosne,
Dave Gahan,
Zero Boys,
Graham Central Station,
Schoolly D,
Man Parrish,
Theoretical Girls,
Girls At Our Best!,
Echospace,
Sixth Finger,
Lee Hazlewood,
Bootsy Collins,
Bizarre Inc.,
Heavy D & The Boyz,
Ossler,
Visionaries,LMNO, T- Love & Iriscience,
Dark Day,
Althea and Donna,
The Men They Couldn't Hang,
Be Bop Deluxe, Be Bop Deluxe, Be Bop Deluxe, Be Bop Deluxe.
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.