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 Poland and from Tokyo.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Manchester and Portland.
I'm losing my edge to the art-school Tehran 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 harpsichord 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 Rapeman to the jazz kids.
I played it at the Spitz.
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 The Beau Brummels. All the underground hits.
All Deadbeat tracks. I heard you have a vinyl of every The Names 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 '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Rowland S Howard / Lydia Lunch record.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Skarface,
The Music Machine,
The Gap Band,
Little Man,
Kango’s Stein Massive,
Eric Dolphy,
Soul II Soul,
Excepter,
the Fania All-Stars,
Intrusion,
The Neon Judgement,
Soft Machine,
Andrew Ashong & Theo Parrish,
Guru Guru,
Quantec,
Bizarre Inc.,
Half Japanese,
Shuggie Otis,
Sun Ra Arkestra,
Laurel Aitken,
Masters at Work,
Bob Dylan,
Pet Shop Boys,
Sixth Finger,
Lungfish,
Country Teasers,
Gang Green,
Chris & Cosey,
Camouflage,
Delon & Dalcan,
Echo & the Bunnymen,
Sarah Menescal,
Nik Kershaw,
Anakelly,
Grauzone,
UT,
The Red Krayola,
The West Coast Pop Art Experimental Band,
Tropical Tobacco,
Don Cherry,
The Chocolate Watch Band,
The Barracudas,
Kauko Röyhkä ja Narttu,
Moby Grape,
Jerry Gold Smith,
The United States of America,
The Gladiators,
Gastr Del Sol,
Mr. Review,
Roy Ayers,
The Victims,
Ossler,
Panda Bear,
Kaleidoscope,
Anthony Braxton,
Marmalade,
Depeche Mode,
Man Parrish,
Eric Copeland,
Camron Feat. Jay Z And Juelz,
This Heat,
Fela Kuti,
The Detroit Cobras, The Detroit Cobras, The Detroit Cobras, The Detroit Cobras.
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.