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 Qatar and from New York.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Johannesburg and Mumbai.
I'm losing my edge to the art-school Mexico City 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 chamberlin sounds with much patience.
I was there when Donald Fagen 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 Kool Moe Dee to the rock kids.
I played it at the Crocodile.
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 Art Ensemble Of Chicago. All the underground hits.
All Stereo Dub tracks. I heard you have a vinyl of every Juan Atkins 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 theremin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Gian Franco Pienzio record.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Prince Buster,
Lee Hazlewood,
Bush Tetras,
Sällskapet,
The Last Poets,
Ohio Players,
Roxette,
Sonic Youth,
Ultra Naté,
Nation of Ulysses,
Cluster,
Gong,
Mars,
The Barracudas,
The Evens,
Sugar Minott,
The Saints,
The Real Kids,
Public Image Ltd.,
the Slits,
Robert Görl,
Wasted Youth,
Graham Central Station,
Trumans Water,
Bootsy's Rubber Band,
Derrick May,
Avey Tare,
Letta Mbulu,
Pantaleimon,
Thompson Twins,
David Bowie,
Basic Channel,
Pulsallama,
Surgeon,
Scan 7,
Gil Scott-Heron and Jamie xx,
Theoretical Girls,
Joey Negro,
H. Thieme,
Jerry's Kids,
Chris & Cosey,
Au Pairs,
Eli Mardock,
Aloha Tigers,
Rotary Connection,
Rekid,
Larry & the Blue Notes,
Terrestrial Tones,
Sarah Menescal,
Faust,
New York Dolls,
Youth Brigade,
Organ,
Eden Ahbez,
Nas,
Richard Hell and the Voidoids,
Newcleus,
Japan,
Neu!,
Alice Coltrane,
Hasil Adkins,
John Lydon,
Cal Tjader,
Junior Murvin,
Malaria!, Malaria!, Malaria!, Malaria!.
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.