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 Kuwait and from Hong Kong.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Madrid and Spokane.
I'm losing my edge to the art-school Philadelphia 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 guitar 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 Eve St. Jones to the disco kids.
I played it at the 40 Watt.
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 Germs. All the underground hits.
All Curtis Mayfield tracks. I heard you have a vinyl of every Nas record on German import.
I heard that you have a white label of every seminal techno 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 synthesizer and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Beau Brummels record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cecil Taylor,
Minutemen,
London Community Gospel Choir,
PIL,
Bang on a Can All-Stars,
The Smiths,
Ohio Players,
Jacob Miller,
Robert Hood,
Electric Prunes,
The Human League,
Crispian St. Peters,
The Mummies,
Rekid,
Dr. Dre and Snoop Doggy Dog,
The Sonics,
Gichy Dan,
the Human League,
Rapeman,
Pylon,
Ken Boothe,
Johnny Clarke,
Sixth Finger,
Lakeside,
Model 500,
ABBA,
The Associates,
The American Breed,
The Cramps,
Derrick May,
Scratch Acid,
Roxy Music,
T. Rex,
Curtis Mayfield,
The Cosmic Jokers,
Orchestral Manoeuvres in the Dark,
Scrapy,
The Monochrome Set,
Warsaw,
Rites of Spring,
The Vogues,
Public Image Ltd.,
Spoonie Gee,
Wasted Youth,
Amon Düül,
The Remains,
Marshall Jefferson,
Can,
JFA,
Camberwell Now,
Rowland S Howard / Lydia Lunch,
Funkadelic,
Minny Pops,
Faust,
Jawbox,
X-101,
Howard Jones,
Kerrie Biddell,
The Music Machine,
KRS-One,
The Index, The Index, The Index, The Index.
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.