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 Antigua and from Columbus.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Copenhagen and Copenhagen.
I'm losing my edge to the art-school Mexico City 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 at the first Suicide practice in a loft in New York.
I was working on the mellotron 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 Pierre Henry to the disco 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 Yellowson. All the underground hits.
All Lizzy Mercier Descloux tracks. I heard you have a vinyl of every Teenage Jesus and the Jerks 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 '60s cut and another box set from the '70s.
I hear you're buying a rhodes and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Cecil Taylor record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crime,
Crash Course in Science,
Stetsasonic,
Bill Wells,
Can,
The Invisible,
Wire,
Jacob Miller,
Tom Boy,
FM Einheit,
Grauzone,
EPMD,
Terry Callier,
Notorious Big And Bone Thugs,
Bobby Byrd,
Interpol,
The Names,
Jerry's Kids,
Gregory Isaacs,
The Mummies,
H. Thieme,
Oppenheimer Analysis,
Delta 5,
Public Image Ltd.,
Barrington Levy,
Sam Rivers,
Sarah Menescal,
Youth Brigade,
the Fania All-Stars,
The Leaves,
New Order,
Flash Fearless,
Erasure,
Amon Düül II,
The Searchers,
Gian Franco Pienzio,
Flipper,
Ludus,
Byron Stingily,
Pantytec,
Ultravox,
Cecil Taylor,
Kenny Larkin,
Joyce Sims,
Negative Approach,
Iggy Pop,
Mary Jane Girls,
Roger Hodgson,
The Beau Brummels,
Neil Young & Crazy Horse,
Dr. Dre and Snoop Doggy Dog,
Bob Dylan,
Camouflage,
DeepChord presents Echospace,
The Kinks,
Nas,
Judy Mowatt,
Slick Rick,
Donny Hathaway,
Archie Shepp,
Altered Images,
Q and Not U,
Max Romeo,
Ajijia Myrayebe, Ajijia Myrayebe, Ajijia Myrayebe, Ajijia Myrayebe.
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.