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 Sweden and from Portland.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1964 to 1976.
I'm losing my edge.
To all the kids in Halifax and Accra.
I'm losing my edge to the art-school Bologna 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the spring reverb 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 The Buckinghams to the jazz kids.
I played it at the 40 Watt.
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 Peter & Gordon. All the underground hits.
All Marvin Gaye tracks. I heard you have a vinyl of every Schoolly D 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 '80s cut and another box set from the '70s.
I hear you're buying a chamberlin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a EPMD record.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wolf Eyes,
Brass Construction,
Bobby Byrd,
Intrusion,
Albert Ayler,
DJ Style,
The Monks,
Johnny Clarke,
Fort Wilson Riot,
The Music Machine,
the Slits,
The Divine Comedy,
New Age Steppers,
Derrick May,
One Last Wish,
Sparks,
Lee Hazlewood,
Susan Cadogan,
Pierre Henry,
The Last Poets,
10cc,
These Immortal Souls,
Suicide,
Nas,
Agitation Free,
Newcleus,
Massinfluence,
Mo-Dettes,
The Five Americans,
Mantronix,
Symarip,
The Fuzztones,
Marine Girls,
Magazine,
The Pop Group,
Robert Wyatt,
Connie Case,
Half Japanese,
Technova,
Bobbi Humphrey,
Judy Mowatt,
Glambeats Corp.,
Camron Feat. Memphis Bleek And Beenie Seigel,
Electric Prunes,
The Star Department,
Crash Course in Science,
R.M.O.,
Yaz,
the Bar-Kays,
Echo & the Bunnymen,
Ponytail,
Slick Rick,
Matthew Bourne,
Bush Tetras,
Tomorrow,
John Holt,
Harry Pussy,
Marc Almond,
Gregory Isaacs,
Kool G Rap & DJ Polo,
Art Ensemble Of Chicago,
The Alarm Clocks, The Alarm Clocks, The Alarm Clocks, The Alarm Clocks.
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.