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 Manila.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1968 to 1970.
I'm losing my edge.
To all the kids in London and Stockholm.
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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the rhodes sounds with much patience.
I was there when Michael McDonald 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 Pharoah Sanders to the funk kids.
I played it at the Spitz.
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 Circle Jerks. All the underground hits.
All Sad Lovers and Giants tracks. I heard you have a vinyl of every Danielle Patucci record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a linndrum and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Sandy B record.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Godley & Creme,
Cal Tjader,
Rosa Yemen,
A Flock of Seagulls,
Lou Reed,
The Selecter,
Model 500,
Tears for Fears,
Tubeway Army,
The Fortunes,
Mandrill,
Stetsasonic,
The Toasters,
The West Coast Pop Art Experimental Band,
Basic Channel,
Technova,
Kevin Saunderson,
Camouflage,
JFA,
Public Image Ltd.,
Mary Jane Girls,
Tommy Roe,
Teenage Jesus and the Jerks,
Lalann,
Qualms,
Little Man,
The Zeros,
Magma,
8 Eyed Spy,
Kayak,
Boz Scaggs,
Eddi Front,
Minnie Riperton,
Slave,
Kerri Chandler,
Fear,
Mad Mike,
48th St. Collective,
Can,
Nico,
John Lydon,
Lou Reed & John Cale,
The American Breed,
Selector Dub Narcotic,
Pere Ubu,
Pole,
Crispian St. Peters,
The Count Five,
Severed Heads,
Liliput,
Crime,
Lower 48,
Marc Romboy vs. Booka Shade,
Radiopuhelimet,
Flipper,
Arthur Verocai,
Bobby Hutcherson,
Lafayette Afro Rock Band,
Niagra, Niagra, Niagra, Niagra.
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.