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 Uruguay and from Bremen.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Accra and Toronto.
I'm losing my edge to the art-school Tokyo 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 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 Al Stewart to the punk 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 Chris & Cosey. All the underground hits.
All Bootsy Collins tracks. I heard you have a vinyl of every Kool Moe Dee record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a snare and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Barry Ungar record.
I hear that you and your band have sold your rhodes and bought a marimba.
I hear that you and your band have sold your marimba and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Minnie Riperton,
Drive Like Jehu,
Zero Boys,
Y Pants,
Outsiders,
Clear Light,
The Remains,
the Normal,
New Age Steppers,
L. Decosne,
Johnny Osbourne,
Sugar Minott,
Angels of Light & Akron/Family,
Peter Gordon & Love of Life Orchestra,
Kerri Chandler,
Deadbeat,
Rapeman,
Traffic Nightmare,
Crooked Eye,
The Cowsills,
Lucky Dragons,
OOIOO,
Grauzone,
Soft Machine,
Grandmaster Flash and the Furious Five,
Ultramagnetic MC's,
Fifty Foot Hose,
Underground Resistance,
Liliput,
a-ha,
Inner City,
the Soft Cell,
Electric Light Orchestra,
Smog,
Reuben Wilson,
Swell Maps,
The Knickerbockers,
Country Teasers,
Scientists,
Byron Stingily,
Aaron Thompson,
Althea and Donna,
Gil Scott-Heron and Jamie xx,
Robert Hood,
Nick Fraelich,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Captain Beefheart & His Magic Band,
Marine Girls,
The Fall,
Avey Tare,
Harmonia,
Lebanon Hanover,
Röyhkä ja Rättö ja Lehtisalo,
Subhumans,
Arab on Radar,
The Fuzztones,
Andrew Hill,
Masters at Work,
Circle Jerks,
Pet Shop Boys,
CMW,
Isaac Hayes, Isaac Hayes, Isaac Hayes, Isaac Hayes.
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.