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 Croatia and from Calgary.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1974.
I'm losing my edge.
To all the kids in London and Bologna.
I'm losing my edge to the art-school Columbus 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 linndrum sounds with much patience.
I was there when Donald Fagen 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 The Velvet Underground to the grime 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 Frankie Knuckles. All the underground hits.
All Rapeman tracks. I heard you have a vinyl of every Marshall Jefferson 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 '80s.
I hear you're buying a chamberlin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Lou Reed record.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Schoolly D,
Angry Samoans,
The Velvet Underground,
Lou Reed & Metallica,
Orchestral Manoeuvres in the Dark,
Toni Rubio,
Depeche Mode,
48th St. Collective,
Notorious Big And Bone Thugs,
Lower 48,
Mr. Review,
Fort Wilson Riot,
Alice Coltrane,
Eyeless In Gaza,
The West Coast Pop Art Experimental Band,
David Axelrod,
The Pretty Things,
Terry Callier,
Avey Tare's Slasher Flicks,
Rhythm & Sound,
The Moleskins,
Scott Walker,
Don Cherry,
Q and Not U,
Alison Limerick,
Crime,
David Bowie,
Lucky Dragons,
Cabaret Voltaire,
Bootsy's Rubber Band,
Lyres,
New Age Steppers,
Big Daddy Kane,
Laurel Aitken,
Arab on Radar,
the Bar-Kays,
Qualms,
Echospace,
Reagan Youth,
H. Thieme,
Spoonie Gee,
Selector Dub Narcotic,
Groovy Waters,
The Golliwogs,
Lee Hazlewood,
Lonnie Liston Smith,
Absolute Body Control,
Drive Like Jehu,
Ludus,
Danielle Patucci,
Grandmaster Flash,
Graham Central Station,
The Human League,
The Cure,
X-101,
Black Pus,
Nation of Ulysses,
Matthew Halsall,
Dawn Penn,
UT,
Brothers Johnson,
Darondo,
the Slits, the Slits, the Slits, the Slits.
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.