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 Somalia and from Johannesburg.
But I was there.
I was there in 1980.
I was there at the first Cybotron 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 1960 to 1970.
I'm losing my edge.
To all the kids in Toronto and Milan.
I'm losing my edge to the art-school Milan 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 Donald Fagen 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 Fatback Band to the grunge 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 Shuggie Otis. All the underground hits.
All D'Angelo tracks. I heard you have a vinyl of every Max Romeo record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a theremin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Sound record.
I hear that you and your band have sold your sitar and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Liaisons Dangereuses,
James White and The Blacks,
Matthew Halsall,
Camberwell Now,
Masters at Work,
Babytalk,
Kayak,
Kurtis Blow,
Brick,
MC5,
The Shadows of Knight,
Moss Icon,
Barry Ungar,
Inner City,
Soft Machine,
Warsaw,
Vaughan Mason & Crew,
Kauko Röyhkä ja Narttu,
These Immortal Souls,
Faust,
Traffic Nightmare,
KRS-One,
Black Bananas,
Andrew Ashong & Theo Parrish,
The Searchers,
Sexual Harrassment,
MDC,
A Certain Ratio,
The Martian,
Jesper Dahlbäck,
Animal Collective,
Newcleus,
Neil Young,
Ronnie Foster,
Pole,
Circle Jerks,
Tom Boy,
cv313,
The Slackers,
Barclay James Harvest,
Eve St. Jones,
Ajijia Myrayebe,
Stiv Bators,
The Sound,
Japan,
Albert Ayler,
LL Cool J,
Public Image Ltd.,
Ralphi Rosario,
Kevin Saunderson,
Sister Nancy,
Average White Band,
Stereo Dub,
Marshall Jefferson,
Brass Construction,
Major Organ And The Adding Machine,
The Star Department,
48th St. Collective,
The Busters,
DJ Sneak,
Neu!,
Dorothy Ashby, Dorothy Ashby, Dorothy Ashby, Dorothy Ashby.
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.