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 Romania and from Mexico City.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 Bologna and Bologna.
I'm losing my edge to the art-school Glasgow 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the clarinet 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 Bootsy Collins to the electroclash kids.
I played it at the Roxy.
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 Louis and Bebe Barron. All the underground hits.
All Quantec tracks. I heard you have a vinyl of every 48th St. Collective record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s 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 Graham Central Station record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Animal Collective,
Laurel Aitken,
Magma,
Flipper,
Dr. Dre and Snoop Doggy Dog,
Sly & The Family Stone,
Metal Thangz,
Avey Tare's Slasher Flicks,
Grandmaster Flash and the Furious Five,
Be Bop Deluxe,
EPMD,
Public Enemy,
Dual Sessions,
Kaleidoscope,
A Certain Ratio,
John Foxx,
Terrestrial Tones,
Bad Manners,
Nick Fraelich,
Lebanon Hanover,
Susan Cadogan,
Jimmy McGriff,
Symarip,
Harry Pussy,
Soulsonic Force,
The Doors,
The Neon Judgement,
Justin Hinds & The Dominoes,
The Birthday Party,
Derrick May,
Talk Talk,
The American Breed,
One Last Wish,
The Gap Band,
Godley & Creme,
Crash Course in Science,
A Flock of Seagulls,
Sight & Sound,
Jeru the Damaja,
Pylon,
Bootsy's Rubber Band,
Lee Hazlewood,
48th St. Collective,
Cabaret Voltaire,
Shuggie Otis,
London Community Gospel Choir,
ABBA,
MDC,
James White and The Blacks,
Japan,
Morten Harket,
The Litter,
Country Teasers,
Fugazi,
Leonard Cohen,
Vladislav Delay,
Q65,
Man Parrish,
Delta 5,
CMW,
DJ Sneak,
Aloha Tigers,
Liliput,
Brand Nubian, Brand Nubian, Brand Nubian, Brand Nubian.
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.