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 Belize and from Sao Paulo.
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 1965 to 1973.
I'm losing my edge.
To all the kids in New York and Philadelphia.
I'm losing my edge to the art-school Edmonton 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the mellotron 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 Nas to the electroclash 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 EPMD. All the underground hits.
All Shoche tracks. I heard you have a vinyl of every Porter Ricks record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a rhodes and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Mars record.
I hear that you and your band have sold your clarinet and bought a theremin.
I hear that you and your band have sold your theremin and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Glambeats Corp.,
Mark Hollis,
Gregory Isaacs,
8 Eyed Spy,
Leonard Cohen,
Ultravox,
Mandrill,
Qualms,
Sexual Harrassment,
Massinfluence,
Niagra,
Yusef Lateef,
Aural Exciters,
The Moody Blues,
The Cosmic Jokers,
Minor Threat,
The Misunderstood,
Peter and Kerry,
Ronnie Foster,
Masters at Work,
Todd Terry,
The Techniques,
Sonic Youth,
Dorothy Ashby,
Scan 7,
Jacques Brel,
the Normal,
Minutemen,
Marc Romboy vs. Booka Shade,
KRS-One,
Eden Ahbez,
Panda Bear,
Wighnomy Brothers & Robag Wruhme,
Idris Muhammad,
Ultramagnetic MC's,
Mad Mike,
Crispian St. Peters,
Frankie Knuckles,
Avey Tare's Slasher Flicks,
The Tremeloes,
Oblivians,
The Residents,
Yaz,
Q65,
Kas Product,
The Durutti Column,
ABC,
Joy Division,
The Human League,
The Martian,
Motorama,
Nils Olav,
Art Ensemble Of Chicago,
Franke,
The Mojo Men,
The Busters,
Godley & Creme,
Echospace,
Sly & The Family Stone,
Brand Nubian,
Black Pus,
Cabaret Voltaire,
The Invisible,
Lonnie Liston Smith,
The Star Department, The Star Department, The Star Department, The Star Department.
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.