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 Trinidad & Tobago and from Taipei.
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 Portland and Seoul.
I'm losing my edge to the art-school Stockholm 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 1973 at the first Television 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 Alton Ellis to the grime kids.
I played it at Cafe Wha.
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 Lalo Schifrin. All the underground hits.
All Von Mondo tracks. I heard you have a vinyl of every Sarah Menescal 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 '60s cut and another box set from the '70s.
I hear you're buying a 808 and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Lizzy Mercier Descloux record.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Liaisons Dangereuses,
Drive Like Jehu,
Arthur Verocai,
The Velvet Underground,
Vladislav Delay,
Ohio Players,
Derrick Morgan,
Juan Atkins,
Angels of Light & Akron/Family,
Monolake,
Man Eating Sloth,
Cluster,
De La Soul & Jungle Brothers,
Arcadia,
Spandau Ballet,
Kayak,
Iggy Pop,
Marshall Jefferson,
the Fania All-Stars,
Liliput,
the Human League,
Chris & Cosey,
Minor Threat,
John Coltrane,
The Mighty Diamonds,
Alice Coltrane,
Barbara Tucker,
The Star Department,
Deakin,
kango's stein massive,
Grey Daturas,
The Vogues,
Boredoms,
the Germs,
Scan 7,
Cal Tjader,
Guru Guru,
Bronski Beat,
Severed Heads,
Jawbox,
Lakeside,
Darondo,
These Immortal Souls,
Soulsonic Force,
Black Pus,
Roger Hodgson,
Judy Mowatt,
The Five Americans,
Roy Ayers Ubiquity,
Intrusion,
Terry Callier,
Popol Vuh,
Lungfish,
Whodini,
Grandmaster Flash,
Barclay James Harvest,
Youth Brigade,
The Happenings,
Porter Ricks,
The Wake,
The Dead C,
Niagra,
Sarah Menescal, Sarah Menescal, Sarah Menescal, Sarah Menescal.
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.