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 Lagos.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1978.
I'm losing my edge.
To all the kids in Tehran and Johannesburg.
I'm losing my edge to the art-school Portland 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the arpeggiator sounds with much patience.
I was there when Captain Beefheart 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 Bobby Sherman to the techno 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 London Community Gospel Choir. All the underground hits.
All Lindisfarne tracks. I heard you have a vinyl of every The Selecter record on German import.
I heard that you have a white label of every seminal funk 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 a mellotron and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Pete Rock & C.L. Smooth record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Interpol,
Main Source,
Lalo Schifrin,
In Retrospect,
Fat Boys,
Whodini,
Tubeway Army,
Jacob Miller,
Sex Pistols,
Cymande,
H. Thieme,
The Remains,
Rapeman,
The Saints,
Lucky Dragons,
Clear Light,
Television,
Dawn Penn,
Bizarre Inc.,
Deepchord,
Mandrill,
Heaven 17,
the Soft Cell,
The Men They Couldn't Hang,
Pussy Galore,
Barclay James Harvest,
Josef K,
Country Joe & The Fish,
Bobby Byrd,
Cybotron,
Stetsasonic,
Marcia Griffiths,
Nils Olav,
The Techniques,
Eddi Front,
AZ,
Barbara Tucker,
Symarip,
Soft Cell,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Wake,
Quando Quango,
June of 44,
FM Einheit,
Delta 5,
Aaron Thompson,
Robert Wyatt,
Duran Duran,
One Last Wish,
Popol Vuh,
DNA,
Harpers Bizarre,
The Mummies,
Urselle,
Lalann,
The Doors,
The Black Dice,
The Alarm Clocks,
Chris Corsano,
Shuggie Otis,
Gerry Rafferty,
Rites of Spring,
Black Sheep,
The Count Five, The Count Five, The Count Five, The Count Five.
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.