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 Uzbekistan and from Lyon.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1974.
I'm losing my edge.
To all the kids in Seoul and Tokyo.
I'm losing my edge to the art-school Stockholm 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the mellotron 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 Blossom Toes to the rock kids.
I played it at Cafe Wha.
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 James Chance & The Contortions. All the underground hits.
All Rufus Thomas tracks. I heard you have a vinyl of every D'Angelo record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an oboe and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Red Lorry Yellow Lorry record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bronski Beat,
It's A Beautiful Day,
Barry Ungar,
Cal Tjader,
Camouflage,
Public Enemy,
Animal Collective,
Suicide,
Siouxsie and the Banshees,
Rhythim Is Rhythim,
Tommy Roe,
Big Daddy Kane,
The Associates,
Audionom,
Cheater Slicks,
Marine Girls,
Kaleidoscope,
Bizarre Inc.,
The Golliwogs,
Hoover,
Masters at Work,
Crispian St. Peters,
Todd Terry,
Intrusion,
Nation of Ulysses,
X-101,
Hashim,
Stereo Dub,
Kenny Larkin,
Cybotron,
The Busters,
Funky Four + One,
Red Lorry Yellow Lorry,
Nas,
Dave Gahan,
DJ Style,
The Flesh Eaters,
Soulsonic Force,
Bobbi Humphrey,
Aaron Thompson,
Avey Tare & Kría Brekkan,
Bluetip,
Ituana,
Spandau Ballet,
10cc,
Bad Manners,
Gabor Szabo,
World's Most,
Camron Feat. Memphis Bleek And Beenie Seigel,
Eric Dolphy,
Glenn Branca,
Technova,
The Trojans,
Alton Ellis,
ABC,
Kayak,
Joe Finger,
Sad Lovers and Giants,
Rod Modell,
Wings,
Kurtis Blow,
Little Man, Little Man, Little Man, Little Man.
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.