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 Turkey and from Winnipeg.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Tehran and New York.
I'm losing my edge to the art-school Jakarta 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 808 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 Camron Feat. Jay Z And Juelz to the grime 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 Sugar Minott. All the underground hits.
All Ornette Coleman tracks. I heard you have a vinyl of every Davy DMX record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Man Parrish record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Letta Mbulu,
This Heat,
Theoretical Girls,
The Techniques,
Soul II Soul,
Avey Tare & Kría Brekkan,
Scion,
Eyeless In Gaza,
Qualms,
The Slits,
The Divine Comedy,
Bob Dylan,
Parry Music,
Alice Coltrane,
Franke,
Bill Near,
Au Pairs,
Cymande,
Mark Hollis,
The Golliwogs,
The Moleskins,
Kenny Larkin,
Outsiders,
Wire,
Sound Behaviour,
Pet Shop Boys,
Pete Rock & C.L. Smooth,
Vainqueur,
Nils Olav,
Quadrant,
Chrome,
Interpol,
The Smoke,
Livin' Joy,
L. Decosne,
David Bowie,
Nik Kershaw,
Lindisfarne,
Cameo,
The Doors,
Jimmy McGriff,
The Moody Blues,
Vladislav Delay,
Excepter,
Scott Walker,
Skarface,
Stetsasonic,
Juan Atkins,
Janne Schatter,
Derrick Morgan,
Matthew Bourne,
Alison Limerick,
F. McDonald,
Neu!,
Bobby Sherman,
Lucky Dragons,
Davy DMX,
The Mummies,
Avey Tare,
Amazonics,
Bronski Beat,
Basic Channel,
Pharaoh Sanders and the Fire Engines,
Gichy Dan, Gichy Dan, Gichy Dan, Gichy Dan.
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.