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 Algeria and from Lagos.
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 1974.
I'm losing my edge.
To all the kids in Delhi and Mexico City.
I'm losing my edge to the art-school Shanghai 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 1973 at the first Television practice in a loft in New York.
I was working on the arpeggiator sounds with much patience.
I was there when Nile Rodgers 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 Rod Modell to the grime kids.
I played it at the Roxy.
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 Aswad. All the underground hits.
All London Community Gospel Choir tracks. I heard you have a vinyl of every Fatback Band record on German import.
I heard that you have a white label of every seminal crunk 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 marimba and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Aswad record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James White and The Blacks,
Prince Buster,
Kings Of Tomorrow,
Icehouse,
Pharoah Sanders,
Graham Central Station,
a-ha,
De La Soul & Jungle Brothers,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Vogues,
Soul II Soul,
The Star Department,
Andrew Hill,
Crispian St. Peters,
Arab on Radar,
Delta 5,
Sarah Menescal,
Selector Dub Narcotic,
Blake Baxter,
Tropical Tobacco,
Notorious Big And Bone Thugs,
Unwound,
The Victims,
Minny Pops,
Aaron Thompson,
Bobby Byrd,
Bobbi Humphrey,
Sparks,
Archie Shepp,
Lou Christie,
Morten Harket,
Alphaville,
Black Moon,
Moss Icon,
Deepchord,
Grandmaster Flash and the Furious Five,
Visage,
The Cowsills,
Blossom Toes,
Traffic Nightmare,
Piero Umiliani,
The Barracudas,
Lebanon Hanover,
Man Parrish,
Hot Snakes,
Average White Band,
Boogie Down Productions,
Cal Tjader,
Cybotron,
Red Lorry Yellow Lorry,
Mo-Dettes,
Reagan Youth,
Dorothy Ashby,
The Sisters of Mercy,
T. Rex,
Siglo XX,
Joe Smooth,
Rufus Thomas,
Ituana,
The Dave Clark Five,
Bizarre Inc.,
Bang On A Can,
The Seeds,
Strawberry Alarm Clock, Strawberry Alarm Clock, Strawberry Alarm Clock, Strawberry Alarm Clock.
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.