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 Saudi Arabia and from Toronto.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1970.
I'm losing my edge.
To all the kids in Hong Kong and Stockholm.
I'm losing my edge to the art-school New York 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 marimba 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 Yusef Lateef to the techno kids.
I played it at the 40 Watt.
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 Faust. All the underground hits.
All Glambeats Corp. tracks. I heard you have a vinyl of every the Bar-Kays 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 '70s.
I hear you're buying a linndrum and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Leonard Cohen record.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joe Smooth,
Hoover,
Harpers Bizarre,
Smog,
Shoche,
Parry Music,
Minnie Riperton,
Eurythmics,
Theoretical Girls,
The Busters,
Heaven 17,
the Fania All-Stars,
Barrington Levy,
Bizarre Inc.,
Lebanon Hanover,
Visage,
Jandek,
Radio Birdman,
Dark Day,
Throbbing Gristle,
Robert Wyatt,
The Walker Brothers,
Gong,
Freddie Wadling,
Eric Dolphy,
Fort Wilson Riot,
The Smiths,
Moebius,
the Normal,
Duran Duran,
Robert Görl,
U.S. Maple,
Von Mondo,
The Durutti Column,
Little Man,
John Holt,
Brick,
Harmonia,
Cybotron,
Lou Reed,
Adolescents,
Tomorrow,
Cabaret Voltaire,
Notorious Big And Bone Thugs,
DJ Sneak,
Japan,
Nick Fraelich,
Reagan Youth,
James Chance & The Contortions,
Skarface,
Jeff Mills,
Radiohead,
Mantronix,
Mandrill,
Nils Olav,
Neil Young & Crazy Horse,
Fatback Band,
Roy Ayers Ubiquity,
Dennis Brown,
Pere Ubu,
Red Lorry Yellow Lorry,
Selector Dub Narcotic, Selector Dub Narcotic, Selector Dub Narcotic, Selector Dub Narcotic.
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.