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 Guatemala and from Woodstock.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1977.
I'm losing my edge.
To all the kids in Delhi and New York.
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 1984 at the first Arcadia practice in a loft in London.
I was working on the snare sounds with much patience.
I was there when Lou Reed 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 Remains to the crunk kids.
I played it at Trash.
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 Moody Blues. All the underground hits.
All Fugazi tracks. I heard you have a vinyl of every Jacob Miller 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 '50s cut and another box set from the '90s.
I hear you're buying an organ and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Remains record.
I hear that you and your band have sold your mellotron and bought a güiro.
I hear that you and your band have sold your güiro and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Major Organ And The Adding Machine,
Pylon,
Todd Rundgren,
The Fortunes,
Sixth Finger,
Mark Hollis,
Excepter,
Popol Vuh,
James White and The Blacks,
Davy DMX,
The Saints,
Tropical Tobacco,
Beasts of Bourbon,
The Golliwogs,
Judy Mowatt,
Eyeless In Gaza,
Moss Icon,
The Fuzztones,
Urselle,
Scientists,
Subhumans,
Charles Mingus,
Camouflage,
the Slits,
Art Ensemble Of Chicago,
Jeru the Damaja,
Bluetip,
Eric B and Rakim,
Vaughan Mason & Crew,
The Doors,
The Chocolate Watch Band,
The Slits,
Pharaoh Sanders and the Fire Engines,
Cybotron,
Sexual Harrassment,
Be Bop Deluxe,
June of 44,
Albert Ayler,
Boz Scaggs,
Scratch Acid,
Howard Jones,
Moebius,
Aaron Thompson,
the Normal,
Roy Ayers,
Harmonia,
Kings Of Tomorrow,
Fort Wilson Riot,
Zapp,
Tubeway Army,
Sad Lovers and Giants,
Newcleus,
The Count Five,
DJ Sneak,
Skarface,
Amazonics,
Interpol,
Rakim,
Panda Bear,
Tim Buckley,
Pierre Henry, Pierre Henry, Pierre Henry, Pierre Henry.
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.