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 Cyprus and from Portland.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Delhi and Toronto.
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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the spring reverb 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 Ronnie Foster to the rap kids.
I played it at the Troubador.
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 Maleditus Sound. All the underground hits.
All Sonic Youth tracks. I heard you have a vinyl of every The Velvet Underground 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 '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 Davy DMX record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gastr Del Sol,
Echo & the Bunnymen,
Absolute Body Control,
Johnny Osbourne,
DeepChord presents Echospace,
New York Dolls,
Donny Hathaway,
The Shadows of Knight,
Liaisons Dangereuses,
the Bar-Kays,
Stiv Bators,
Swell Maps,
The Electric Prunes,
The Sound,
Fifty Foot Hose,
Lakeside,
Big Daddy Kane,
Radiopuhelimet,
Bauhaus,
Kings Of Tomorrow,
Mission of Burma,
Moebius,
The Stooges,
Gang of Four,
Funky Four + One,
The Grass Roots,
The Royal Family And The Poor,
Newcleus,
Deutsch Amerikanische Freundschaft,
Kas Product,
Junior Murvin,
Chrome,
Sarah Menescal,
David Bowie,
Pharaoh Sanders and the Fire Engines,
Danielle Patucci,
Suburban Knight,
Roxy Music,
Mars,
Nick Fraelich,
Piero Umiliani,
The Slackers,
The Doors,
Hashim,
Lonnie Liston Smith,
kango's stein massive,
Curtis Mayfield,
A Certain Ratio,
Kango’s Stein Massive,
The Mighty Diamonds,
Main Source,
Steve Hackett,
Bobby Byrd,
The Saints,
Hot Snakes,
Parry Music,
Beasts of Bourbon,
Desert Stars,
Major Organ And The Adding Machine,
Davy DMX,
Sparks,
Terror Squad Feat. Camron,
PIL,
Wire, Wire, Wire, Wire.
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.