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 Lesotho and from Bremen.
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 1964 to 1971.
I'm losing my edge.
To all the kids in London and Accra.
I'm losing my edge to the art-school Columbus 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 Feelies practice in a loft in Haledon.
I was working on the marimba sounds with much patience.
I was there when David Bowie 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 Doobie Brothers to the punk 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 the Association. All the underground hits.
All Vladislav Delay tracks. I heard you have a vinyl of every Marmalade 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 '50s cut and another box set from the '70s.
I hear you're buying a rhodes and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Procol Harum record.
I hear that you and your band have sold your oboe and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Procol Harum,
Mandrill,
Steve Hackett,
Section 25,
Yellowson,
Magazine,
Masters at Work,
London Community Gospel Choir,
Bobby Hutcherson,
Panda Bear,
Interpol,
Camberwell Now,
Oppenheimer Analysis,
Kurtis Blow,
K-Klass,
Grandmaster Flash and the Furious Five,
De La Soul & Jungle Brothers,
Andrew Hill,
James Chance & The Contortions,
The Misunderstood,
Hardrive,
The Men They Couldn't Hang,
Sonny Sharrock,
the Bar-Kays,
Glambeats Corp.,
The Monks,
Nas,
The Leaves,
Todd Terry,
Matthew Bourne,
The New Christs,
Big Daddy Kane,
Pussy Galore,
Moby Grape,
David McCallum,
Dead Boys,
Richard Hell and the Voidoids,
Pharoah Sanders,
DeepChord presents Echospace,
In Retrospect,
The Last Poets,
Lungfish,
Stiv Bators,
Angels of Light & Akron/Family,
Arab on Radar,
The Neon Judgement,
MDC,
Malaria!,
Marcia Griffiths,
Hoover,
Hasil Adkins,
Wally Richardson,
Joe Finger,
Avey Tare & Kría Brekkan,
Chrome,
The Chocolate Watch Band,
The Blackbyrds,
Depeche Mode,
X-102,
The Detroit Cobras,
Jesper Dahlbäck,
Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson.
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.