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 Malawi and from Copenhagen.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Mexico City and Salvador.
I'm losing my edge to the art-school Manchester 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 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 The Pop Group to the funk kids.
I played it at the Astoria.
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 Sam Rivers. All the underground hits.
All Peter Gordon & Love of Life Orchestra tracks. I heard you have a vinyl of every Flash Fearless 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 '70s cut and another box set from the '70s.
I hear you're buying a clarinet and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Fuzztones record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
A Certain Ratio,
Niagra,
Barry Ungar,
Soul II Soul,
The Mummies,
the Germs,
Sun Ra,
Stetsasonic,
Avey Tare,
Can,
Bush Tetras,
Minnie Riperton,
James Chance & The Contortions,
The Five Americans,
Audionom,
Crispian St. Peters,
Rapeman,
The Techniques,
Parry Music,
Cal Tjader,
Kings Of Tomorrow,
Black Moon,
the Normal,
Bang On A Can,
Jandek,
Malaria!,
Bootsy's Rubber Band,
the Slits,
R.M.O.,
Juan Atkins,
T.S.O.L.,
Gil Scott-Heron & Brian Jackson,
The Neon Judgement,
Idris Muhammad,
the Human League,
New York Dolls,
Sex Pistols,
These Immortal Souls,
X-Ray Spex,
Mr. Review,
Sunsets and Hearts,
The American Breed,
The Sisters of Mercy,
Scrapy,
Camron Feat. Jay Z And Juelz,
Nico,
Wings,
The Beau Brummels,
The Searchers,
Brand Nubian,
Bill Wells,
Marcia Griffiths,
Orchestral Manoeuvres in the Dark,
cv313,
Quadrant,
Vainqueur,
Kauko Röyhkä ja Narttu,
Crime,
Flash Fearless,
Buzzcocks,
The Motions,
Hot Snakes, Hot Snakes, Hot Snakes, Hot Snakes.
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.