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 Antigua and from Philadelphia.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Tokyo and Houston.
I'm losing my edge to the art-school Spokane 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 1968 at the first Can practice in a loft in Cologne.
I was working on the güiro sounds with much patience.
I was there when Nile Rodgers 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 Barrington Levy to the dance kids.
I played it at the Crocodile.
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 Brass Construction. All the underground hits.
All Michelle Simonal tracks. I heard you have a vinyl of every Jerry Gold Smith record on German import.
I heard that you have a white label of every seminal funk 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 harpsichord and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Ultimate Spinach record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Khruangbin,
Byron Stingily,
Grandmaster Flash and the Furious Five,
Joe Smooth,
John Lydon,
Gary Puckett & The Union Gap,
Dark Day,
Chris Corsano,
Ultravox,
Hashim,
Todd Rundgren,
Fat Boys,
Desert Stars,
Robert Görl,
The Offenders,
Hardrive,
The Saints,
Maleditus Sound,
Public Enemy,
Camron Feat. Memphis Bleek And Beenie Seigel,
Technova,
The Sisters of Mercy,
Lyres,
Rekid,
Jerry Gold Smith,
Sarah Menescal,
The Smiths,
Basic Channel,
Sam Rivers,
Hasil Adkins,
The Dead C,
Gregory Isaacs,
Selector Dub Narcotic,
Audionom,
A Certain Ratio,
One Last Wish,
Crispy Ambulance,
Charles Mingus,
Lou Reed & John Cale,
Swans,
Orchestral Manoeuvres in the Dark,
Max Romeo,
The Mojo Men,
Pierre Henry,
Kenny Larkin,
Godley & Creme,
Tim Buckley,
Electric Light Orchestra,
Scratch Acid,
Kerrie Biddell,
Peter Gordon & Love of Life Orchestra,
Warren Ellis,
Davy DMX,
Traffic Nightmare,
Shoche,
Howard Jones,
Lee Hazlewood,
Jeff Mills,
Pussy Galore,
UT,
Faraquet,
Matthew Halsall,
The Victims, The Victims, The Victims, The Victims.
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.