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 Bangladesh and from Spokane.
But I was there.
I was there in 1976.
I was there at the first Chic 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 1966 to 1976.
I'm losing my edge.
To all the kids in Portland and Woodstock.
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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the mellotron 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 Simply Red to the crunk kids.
I played it at the Astoria.
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 Spandau Ballet. All the underground hits.
All Pharoah Sanders tracks. I heard you have a vinyl of every Gichy Dan record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a snare and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Pylon record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Boogie Down Productions,
Minor Threat,
Gang of Four,
Gil Scott-Heron and Jamie xx,
Pere Ubu,
Peter & Gordon,
DJ Style,
The Martian,
Sixth Finger,
One Last Wish,
James White and The Blacks,
Neil Young,
Wighnomy Brothers & Robag Wruhme,
The Names,
Liaisons Dangereuses,
Cabaret Voltaire,
Thee Headcoats,
Notorious BIG live in Amsterdam,
Shoche,
Matthew Bourne,
The Move,
Derrick Morgan,
Ludus,
Mary Jane Girls,
Junior Murvin,
Terrestrial Tones,
Janne Schatter,
Loose Ends,
Nick Cave & The Bad Seeds,
Captain Beefheart & His Magic Band,
Red Lorry Yellow Lorry,
Bizarre Inc.,
David Axelrod,
Sun City Girls,
Alice Coltrane,
Warsaw,
Skarface,
Outsiders,
The Dirtbombs,
Blake Baxter,
Toni Rubio,
Eden Ahbez,
Masters at Work,
Sam Rivers,
Manfred Mann's Earth Band,
Camberwell Now,
Jacob Miller,
The Tremeloes,
Jeff Mills,
Avey Tare & Kría Brekkan,
Lou Reed,
Adolescents,
Derrick May,
Sly & The Family Stone,
Soft Cell,
Average White Band,
Unrelated Segments,
Roy Ayers Ubiquity,
Camouflage,
Bootsy Collins,
Robert Hood,
Fugazi,
Bill Near,
Brass Construction, Brass Construction, Brass Construction, Brass Construction.
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.