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 Germany and from Columbus.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1970.
I'm losing my edge.
To all the kids in Taipei and Paris.
I'm losing my edge to the art-school Mexico City 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 theremin 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 Fat Boys to the grime 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 Larry & the Blue Notes. All the underground hits.
All 48th St. Collective tracks. I heard you have a vinyl of every the Slits 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 '50s cut and another box set from the '80s.
I hear you're buying a rhodes and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Unrelated Segments record.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soulsonic Force,
The United States of America,
Teenage Jesus and the Jerks,
Excepter,
Notorious Big And Bone Thugs,
John Cale,
The Evens,
Girls At Our Best!,
Henry Cow,
Idris Muhammad,
Public Image Ltd.,
Scion,
Rakim,
The Divine Comedy,
Alison Limerick,
Hashim,
Pole,
Heavy D & The Boyz,
Main Source,
Funky Four + One,
Strawberry Alarm Clock,
Ultravox,
Gastr Del Sol,
Trumans Water,
Second Layer,
Marmalade,
DJ Style,
The Neon Judgement,
L. Decosne,
Electric Prunes,
Althea and Donna,
Harmonia,
Television Personalities,
Ludus,
10cc,
Lou Reed & Metallica,
Don Cherry,
Sight & Sound,
Joensuu 1685,
Sun City Girls,
Blancmange,
Aloha Tigers,
Iggy Pop,
Harpers Bizarre,
The Barracudas,
Guru Guru,
Freddie Wadling,
Neu!,
X-Ray Spex,
The Pop Group,
Black Flag,
JFA,
Joe Smooth,
Goldenarms,
Ten City,
Gang Gang Dance,
Sugar Minott,
John Lydon,
Parry Music,
Porter Ricks,
Erasure,
Boogie Down Productions,
Deutsch Amerikanische Freundschaft,
Albert Ayler, Albert Ayler, Albert Ayler, Albert Ayler.
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.