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 Tuvalu and from Houston.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1974.
I'm losing my edge.
To all the kids in Mexico City and Philadelphia.
I'm losing my edge to the art-school Salvador 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 synthesizer 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 The American Breed to the dance 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 Eric Dolphy. All the underground hits.
All Oneida tracks. I heard you have a vinyl of every ABC record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a 808 and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Angels of Light record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
T.S.O.L.,
Arthur Verocai,
Quando Quango,
Leonard Cohen,
Lizzy Mercier Descloux,
Johnny Osbourne,
Roy Ayers Ubiquity,
Maurizio,
The Flesh Eaters,
Throbbing Gristle,
The Fall,
Cecil Taylor,
Jacques Brel,
Susan Cadogan,
Connie Case,
Neu!,
The Gories,
Super Lover Cee & Casanova Rud,
Jeff Lynne,
AZ,
Fela Kuti,
10cc,
Peter & Gordon,
Teenage Jesus and the Jerks,
Absolute Body Control,
Parry Music,
Faust,
The Names,
Easy Going,
Lou Reed & Metallica,
Babytalk,
Stockholm Monsters,
Louis and Bebe Barron,
Brand Nubian,
The Litter,
Black Bananas,
David Bowie,
Panda Bear,
The Standells,
Aural Exciters,
Monolake,
Lou Reed & John Cale,
Vainqueur,
New York Dolls,
Mr. Review,
Man Parrish,
Boz Scaggs,
The Seeds,
Ronan,
Bush Tetras,
Barbara Tucker,
Au Pairs,
The Wake,
Kaleidoscope,
Roxy Music,
Darondo,
The Neon Judgement,
Spoonie Gee,
The Blackbyrds,
Pantaleimon,
Donny Hathaway,
Major Organ And The Adding Machine,
The Fugs, The Fugs, The Fugs, The Fugs.
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.