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 Malta and from Mumbai.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1975.
I'm losing my edge.
To all the kids in Manila and London.
I'm losing my edge to the art-school Lille 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the arpeggiator sounds with much patience.
I was there when Robert Palmer 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 Motorama to the electroclash kids.
I played it at the Astoria.
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 Yaz. All the underground hits.
All The Trojans tracks. I heard you have a vinyl of every Barrington Levy record on German import.
I heard that you have a white label of every seminal electroclash 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 an arpeggiator and an organ and are throwing your macbook out the window because you want to make something real. You want to make a 48th St. Collective record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Royal Family And The Poor,
Urselle,
Magazine,
The Men They Couldn't Hang,
Shoche,
FM Einheit,
A Flock of Seagulls,
Max Romeo,
The Selecter,
the Human League,
Neil Young,
James Chance & The Contortions,
The Remains,
Bluetip,
U.S. Maple,
Bobby Byrd,
The Smiths,
The Smoke,
Hasil Adkins,
Aswad,
Steve Hackett,
Hashim,
Pere Ubu,
Gang Starr,
UT,
Nas,
Peter & Gordon,
The Beau Brummels,
David Bowie,
Soft Cell,
Black Sheep,
Rakim,
Howard Jones,
The Techniques,
Pharaoh Sanders and the Fire Engines,
PIL,
Scrapy,
Saccharine Trust,
Porter Ricks,
Rosa Yemen,
Avey Tare & Kría Brekkan,
Flamin' Groovies,
Schoolly D,
Sexual Harrassment,
Rufus Thomas,
Nirvana,
Sandy B,
The West Coast Pop Art Experimental Band,
Scientists,
Iggy Pop,
Pharoah Sanders,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Oppenheimer Analysis,
Heavy D & The Boyz,
Marc Romboy vs. Booka Shade,
Grandmaster Flash,
Sticky Fingaz feat. Raekwon,
Von Mondo,
Man Parrish,
Ten City, Ten City, Ten City, Ten City.
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.