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 Tonga and from Stockholm.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Woodstock and Woodstock.
I'm losing my edge to the art-school Philadelphia 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the clarinet 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 Niagra 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 Flash Fearless. All the underground hits.
All Public Enemy tracks. I heard you have a vinyl of every Andrew Hill record on German import.
I heard that you have a white label of every seminal rap 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 an organ and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Cure record.
I hear that you and your band have sold your linndrum and bought a theremin.
I hear that you and your band have sold your theremin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Subhumans,
London Community Gospel Choir,
Supertramp,
Cabaret Voltaire,
JFA,
Ronan,
Blake Baxter,
Liaisons Dangereuses,
Kayak,
Erasure,
Camouflage,
Q65,
Eden Ahbez,
Black Sheep,
Bang On A Can,
The Smoke,
Amon Düül II,
Man Eating Sloth,
Slave,
Kas Product,
Tom Boy,
Symarip,
T. Rex,
Parry Music,
The Grass Roots,
Ohio Players,
Throbbing Gristle,
Robert Hood,
James Chance & The Contortions,
Index,
Aloha Tigers,
the Slits,
Cal Tjader,
Royal Trux,
Franke,
Adolescents,
The Pop Group,
The Moody Blues,
Goldenarms,
Vladislav Delay,
Young Marble Giants,
EPMD,
MC5,
Wally Richardson,
Pulsallama,
Spandau Ballet,
Black Bananas,
Josef K,
Traffic Nightmare,
Roy Ayers,
Susan Cadogan,
the Human League,
Marmalade,
Soulsonic Force,
Lonnie Liston Smith,
Ken Boothe,
Larry & the Blue Notes,
Delon & Dalcan,
Terrestrial Tones,
Ash Ra Tempel,
Robert Görl,
It's A Beautiful Day,
The Peanut Butter Conspiracy, The Peanut Butter Conspiracy, The Peanut Butter Conspiracy, The Peanut Butter Conspiracy.
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.