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 Kenya and from Woodstock.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1965 to 1972.
I'm losing my edge.
To all the kids in New York and Sao Paulo.
I'm losing my edge to the art-school Tehran 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 guitar sounds with much patience.
I was there when Michael McDonald 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 Gary Puckett & The Union Gap to the funk kids.
I played it at the Hacienda.
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 Gastr Del Sol. All the underground hits.
All Vainqueur tracks. I heard you have a vinyl of every Bobbi Humphrey record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a sitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Byron Stingily record.
I hear that you and your band have sold your organ and bought a sitar.
I hear that you and your band have sold your sitar and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Detroit Cobras,
Warren Ellis,
Kurtis Blow,
Unwound,
Rapeman,
Buzzcocks,
FM Einheit,
X-Ray Spex,
Ultravox,
Severed Heads,
Main Source,
Ash Ra Tempel,
Eurythmics,
Second Layer,
Anthony Braxton,
Magma,
Intrusion,
Crispy Ambulance,
Pere Ubu,
Skriet,
DJ Style,
Gichy Dan,
Man Parrish,
Chris Corsano,
Rhythm & Sound,
Eric B and Rakim,
The Selecter,
Gil Scott-Heron & Brian Jackson,
Marmalade,
Boogie Down Productions,
Steve Hackett,
Jandek,
Marshall Jefferson,
Gastr Del Sol,
Black Moon,
Make Up,
MC5,
The Sound,
Lower 48,
Sugar Minott,
Notorious BIG live in Amsterdam,
Lakeside,
Cal Tjader,
Crispian St. Peters,
Terror Squad Feat. Camron,
Dual Sessions,
Masters at Work,
Pharoah Sanders,
Qualms,
Ornette Coleman,
Matthew Halsall,
Roxy Music,
Derrick May,
Pantytec,
The Chocolate Watch Band,
Slave,
Fat Boys,
Underground Resistance,
Marcia Griffiths,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
OOIOO,
Sonic Youth,
Graham Central Station, Graham Central Station, Graham Central Station, Graham Central Station.
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.