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 Nepal and from Philadelphia.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in 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 1974.
I'm losing my edge.
To all the kids in Spokane and Salvador.
I'm losing my edge to the art-school Houston 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 harpsichord 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 David Bowie to the funk 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 Real Kids. All the underground hits.
All Section 25 tracks. I heard you have a vinyl of every The Mummies 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 '80s cut and another box set from the '70s.
I hear you're buying a spring reverb and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Pantaleimon record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Juan Atkins,
Grauzone,
Underground Resistance,
Gary Puckett & The Union Gap,
The Victims,
Soft Machine,
The Pop Group,
the Association,
Crash Course in Science,
Gregory Isaacs,
Subhumans,
The United States of America,
Eyeless In Gaza,
John Coltrane,
Pagans,
Youth Brigade,
The Velvet Underground,
Scan 7,
Ten City,
The Wake,
Sound Behaviour,
Jerry Gold Smith,
Tomorrow,
Ralphi Rosario,
EPMD,
The Cure,
Brand Nubian,
10cc,
Scratch Acid,
Cameo,
Rotary Connection,
Angry Samoans,
Tropical Tobacco,
Vladislav Delay,
Robert Hood,
Don Cherry,
Lalo Schifrin,
The Stooges,
Aswad,
Robert Görl,
Avey Tare & Kría Brekkan,
Infiniti,
ABBA,
Yaz,
Sad Lovers and Giants,
Reagan Youth,
Oblivians,
Super Lover Cee & Casanova Rud,
John Lydon,
the Germs,
The Selecter,
Mr. Review,
Laurel Aitken,
Flipper,
The Smoke,
Grandmaster Flash,
Duran Duran,
Eric B and Rakim,
The Gories,
Pantytec,
Archie Shepp, Archie Shepp, Archie Shepp, Archie Shepp.
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.