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 Estonia and from Cairo.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Tehran and Accra.
I'm losing my edge to the art-school Paris 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 organ 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 48th St. Collective to the grime kids.
I played it at Trash.
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 Strawberry Alarm Clock. All the underground hits.
All Pet Shop Boys tracks. I heard you have a vinyl of every Technova record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a güiro 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 arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pete Rock & C.L. Smooth,
Black Pus,
Grauzone,
Saccharine Trust,
Marc Romboy vs. Booka Shade,
The Seeds,
the Bar-Kays,
Heavy D & The Boyz,
Spandau Ballet,
Rhythm & Sound,
Organ,
Alison Limerick,
Los Fastidios,
Pet Shop Boys,
Kurtis Blow,
Dark Day,
Deakin,
Pharaoh Sanders and the Fire Engines,
Andrew Hill,
Flipper,
Roxette,
Bauhaus,
Bill Near,
Rod Modell,
Little Man,
Lee Hazlewood,
The Kinks,
Letta Mbulu,
Gabor Szabo,
Vaughan Mason & Crew,
The Flesh Eaters,
Dead Boys,
Juan Atkins,
Donny Hathaway,
Gregory Isaacs,
Model 500,
Faraquet,
Bobby Womack,
Brick,
Easy Going,
The Red Krayola,
Marine Girls,
Peter & Gordon,
These Immortal Souls,
Rahsaan Roland Kirk,
Idris Muhammad,
Magazine,
Radio Birdman,
Marcia Griffiths,
The Velvet Underground,
Bad Manners,
The Chocolate Watch Band,
AZ,
Fad Gadget,
Electric Prunes,
Joyce Sims,
Howard Jones,
Captain Beefheart & His Magic Band,
Nick Fraelich,
Reagan Youth,
The Busters,
One Last Wish, One Last Wish, One Last Wish, One Last Wish.
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.