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 Dominican Republic and from Mumbai.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Tehran and New York.
I'm losing my edge to the art-school Portland 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 sitar 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 Anthony Braxton 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 Minny Pops. All the underground hits.
All Eric Copeland tracks. I heard you have a vinyl of every Sly & The Family Stone 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 '70s.
I hear you're buying a harpsichord and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Pretty Things record.
I hear that you and your band have sold your rhodes and bought a sitar.
I hear that you and your band have sold your sitar and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Connie Case,
Man Parrish,
A Flock of Seagulls,
Ohio Players,
Traffic Nightmare,
Soft Cell,
Roxette,
Deakin,
John Lydon,
Lou Reed & Metallica,
Stetsasonic,
The Trojans,
Andrew Hill,
Slave,
Absolute Body Control,
the Normal,
The Index,
Sly & The Family Stone,
Marmalade,
Electric Light Orchestra,
Maleditus Sound,
Rakim,
Hoover,
Q and Not U,
Babytalk,
Moby Grape,
Zero Boys,
Donald Byrd,
Charles Mingus,
De La Soul & Jungle Brothers,
DJ Style,
Neil Young,
Television,
Matthew Halsall,
Basic Channel,
Carl Craig,
The Blackbyrds,
Art Ensemble Of Chicago,
David Axelrod,
New Age Steppers,
Patti Smith,
Notorious Big And Bone Thugs,
Ajijia Myrayebe,
Roy Ayers Ubiquity,
Wolf Eyes,
Bobby Byrd,
Crispian St. Peters,
The Birthday Party,
Ludus,
Glambeats Corp.,
Hashim,
Cal Tjader,
Be Bop Deluxe,
The Toasters,
It's A Beautiful Day,
Lou Reed,
Joensuu 1685,
The Cosmic Jokers,
The Peanut Butter Conspiracy,
Spandau Ballet,
Joe Smooth,
Rhythim Is Rhythim,
Deepchord, Deepchord, Deepchord, Deepchord.
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.