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 Bulgaria and from Mumbai.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1976.
I'm losing my edge.
To all the kids in Bremen and Delhi.
I'm losing my edge to the art-school Manchester 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 Chic practice in a loft in New York.
I was working on the oboe 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 Barry Ungar to the funk kids.
I played it at Trash.
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 Kango’s Stein Massive. All the underground hits.
All Rosa Yemen tracks. I heard you have a vinyl of every Notorious BIG live in Amsterdam record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a linndrum and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Remains record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Interpol,
Public Image Ltd.,
Barrington Levy,
Boogie Down Productions,
Radiohead,
The Raincoats,
Patti Smith,
June Days,
48th St. Collective,
Livin' Joy,
Sugar Minott,
KRS-One,
Flamin' Groovies,
Pierre Henry,
Jesper Dahlbäck,
Bobby Womack,
Make Up,
Eli Mardock,
The Mighty Diamonds,
Scratch Acid,
the Fania All-Stars,
Throbbing Gristle,
Technova,
One Last Wish,
The Dead C,
Amon Düül II,
Sun City Girls,
The Jesus and Mary Chain,
Pulsallama,
Kool Moe Dee,
Moby Grape,
Ajijia Myrayebe,
Audionom,
The Saints,
Flash Fearless,
The Human League,
Arab on Radar,
Amon Düül,
Scott Walker,
Lee Hazlewood,
Kings Of Tomorrow,
The Gladiators,
Smog,
Ossler,
Black Flag,
The Star Department,
Basic Channel,
Roxy Music,
Malaria!,
Sight & Sound,
Vainqueur,
Hasil Adkins,
The Techniques,
Aswad,
Circle Jerks,
David Bowie,
Maurizio,
Joy Division,
Barclay James Harvest,
Cabaret Voltaire,
Selector Dub Narcotic,
Tommy Roe,
Pantytec,
the Bar-Kays, the Bar-Kays, the Bar-Kays, the Bar-Kays.
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.