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 San Marino and from Lille.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Philadelphia and Tokyo.
I'm losing my edge to the art-school Calgary 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 Chic practice in a loft in New York.
I was working on the mellotron sounds with much patience.
I was there when Lou Reed 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 Man Parrish to the crunk kids.
I played it at the Hacienda.
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 K-Klass. All the underground hits.
All Royal Trux tracks. I heard you have a vinyl of every June Days record on German import.
I heard that you have a white label of every seminal funk 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 marimba and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Aaron Thompson record.
I hear that you and your band have sold your harpsichord and bought a snare.
I hear that you and your band have sold your snare and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Big Daddy Kane,
Ludus,
Roy Ayers,
Crash Course in Science,
Jacques Brel,
Lyres,
Ronan,
Steve Hackett,
Gil Scott Heron,
Sonic Youth,
Kas Product,
Angels of Light & Akron/Family,
Freddie Wadling,
Charles Mingus,
Mary Jane Girls,
Albert Ayler,
Tomorrow,
Pussy Galore,
Connie Case,
Red Lorry Yellow Lorry,
The Leaves,
B.T. Express,
Marine Girls,
The Residents,
World's Most,
H. Thieme,
Jandek,
Johnny Osbourne,
The Index,
Marmalade,
Darondo,
Subhumans,
Major Organ And The Adding Machine,
Quantec,
Bronski Beat,
Porter Ricks,
Kauko Röyhkä ja Narttu,
The Fire Engines,
Gian Franco Pienzio,
Arab on Radar,
U.S. Maple,
Davy DMX,
Man Eating Sloth,
Johnny Clarke,
48th St. Collective,
The Knickerbockers,
MC5,
Crime,
Hardrive,
Barry Ungar,
Main Source,
Sonny Sharrock,
The Smiths,
Supertramp,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Judy Mowatt,
Selector Dub Narcotic,
The Gun Club,
Lou Reed & John Cale,
Glambeats Corp.,
The Smoke,
Toni Rubio, Toni Rubio, Toni Rubio, Toni Rubio.
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.