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 Bahamas and from Columbus.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Manila and Glasgow.
I'm losing my edge to the art-school Lagos 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 marimba sounds with much patience.
I was there when Tom Verlaine 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 Con Funk Shun to the dance 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 Model 500. All the underground hits.
All Sällskapet tracks. I heard you have a vinyl of every Echospace record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying an oboe and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Scott Walker record.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jesper Dahlback,
Kool G Rap & DJ Polo,
A Certain Ratio,
Louis and Bebe Barron,
Sunsets and Hearts,
Junior Murvin,
Avey Tare's Slasher Flicks,
Josef K,
Rhythm & Sound,
The Invisible,
Audionom,
Public Image Ltd.,
Slave,
Nas,
Neil Young & Crazy Horse,
The Doobie Brothers,
Arcadia,
F. McDonald,
Los Fastidios,
The Monks,
Basic Channel,
Gabor Szabo,
The Martian,
The Flesh Eaters,
Sex Pistols,
Yellowson,
JFA,
Peter & Gordon,
Nick Fraelich,
Beasts of Bourbon,
Be Bop Deluxe,
Organ,
Eyeless In Gaza,
Moss Icon,
Johnny Clarke,
Janne Schatter,
Throbbing Gristle,
Sly & The Family Stone,
Young Marble Giants,
The Modern Lovers,
June Days,
10cc,
Magma,
James White and The Blacks,
The Shadows of Knight,
Vaughan Mason & Crew,
Hardrive,
The Cowsills,
Gregory Isaacs,
Section 25,
Frankie Knuckles,
The Fugs,
Aural Exciters,
Thinking Fellers Union Local 282,
The Raincoats,
The Jesus and Mary Chain,
Dorothy Ashby,
Stockholm Monsters,
Black Bananas,
Shoche,
Sight & Sound,
June of 44,
Gang Starr, Gang Starr, Gang Starr, Gang Starr.
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.