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 Guyana and from Taipei.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Mexico City and Hong Kong.
I'm losing my edge to the art-school London 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 spring reverb 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 Todd Terry to the jazz kids.
I played it at the Hacienda.
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 Underground Resistance. All the underground hits.
All John Holt tracks. I heard you have a vinyl of every Marcia Griffiths 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 '70s.
I hear you're buying a sitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Joensuu 1685 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?
Max Romeo,
Massinfluence,
Warren Ellis,
Mission of Burma,
The Tremeloes,
Flamin' Groovies,
Fad Gadget,
Alice Coltrane,
Rufus Thomas,
The Vogues,
Kerri Chandler,
Major Organ And The Adding Machine,
Gang Starr,
The Pop Group,
Cal Tjader,
The Mummies,
8 Eyed Spy,
Bang On A Can,
The Trojans,
Y Pants,
The Cramps,
Nik Kershaw,
Johnny Osbourne,
Skriet,
Marshall Jefferson,
David Axelrod,
Sonny Sharrock,
Aloha Tigers,
Pharoah Sanders,
The Modern Lovers,
Rhythim Is Rhythim,
Isaac Hayes,
Rotary Connection,
Ossler,
Groovy Waters,
Hashim,
The Beau Brummels,
Swans,
KRS-One,
Donny Hathaway,
The Searchers,
Rapeman,
Stereo Dub,
Maleditus Sound,
Minor Threat,
CMW,
The Monks,
the Association,
The Wake,
Ajijia Myrayebe,
The Stooges,
Camouflage,
Sarah Menescal,
The Associates,
Quantec,
The Kinks,
Hoover,
Kenny Larkin,
Public Enemy,
Heaven 17,
Thee Headcoats,
Marc Romboy vs. Booka Shade,
The Sisters of Mercy, The Sisters of Mercy, The Sisters of Mercy, The Sisters of Mercy.
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.