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 Czech Republic and from Winnipeg.
But I was there.
I was there in 1967.
I was there at the first Rodriguez 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 1966 to 1976.
I'm losing my edge.
To all the kids in Mexico City and Mexico City.
I'm losing my edge to the art-school Hong Kong 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the snare 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 cv313 to the rap 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 Moby Grape. All the underground hits.
All Masters at Work tracks. I heard you have a vinyl of every DNA 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 '90s.
I hear you're buying an organ and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Mars record.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crime,
Urselle,
Connie Case,
The Chocolate Watch Band,
Derrick May,
Avey Tare & Kría Brekkan,
Nick Fraelich,
Interpol,
F. McDonald,
Radio Birdman,
The Walker Brothers,
Dual Sessions,
Ken Boothe,
L. Decosne,
The Young Rascals,
Black Moon,
Oppenheimer Analysis,
Sun Ra,
Young Marble Giants,
The Buckinghams,
Gang Green,
The Dirtbombs,
Harry Pussy,
Camberwell Now,
Marmalade,
Eve St. Jones,
De La Soul & Jungle Brothers,
Adolescents,
John Cale,
Visionaries,LMNO, T- Love & Iriscience,
Eric Copeland,
Bootsy's Rubber Band,
Ralphi Rosario,
Hardrive,
Blossom Toes,
Pet Shop Boys,
Qualms,
Mantronix,
Sly & The Family Stone,
10cc,
The Kinks,
Strawberry Alarm Clock,
Alton Ellis,
Graham Central Station,
Ice-T,
Tomorrow,
Charles Mingus,
Marshall Jefferson,
Neil Young & Crazy Horse,
The Beau Brummels,
Alison Limerick,
Terrestrial Tones,
Main Source,
Tubeway Army,
Funky Four + One,
Lower 48,
Bill Near,
Electric Light Orchestra,
Curtis Mayfield,
Liaisons Dangereuses,
Brass Construction,
It's A Beautiful Day,
The Star Department,
B.T. Express,
Byron Stingily, Byron Stingily, Byron Stingily, Byron Stingily.
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.