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 St Lucia and from Tehran.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Paris and Mumbai.
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 Chic practice in a loft in New York.
I was working on the chamberlin 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 Lindisfarne to the jazz kids.
I played it at the Troubador.
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 Suicide. All the underground hits.
All Sunsets and Hearts tracks. I heard you have a vinyl of every Charles Mingus record on German import.
I heard that you have a white label of every seminal punk 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 mellotron and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Bill Near record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sixth Finger,
Eric Dolphy,
Loose Ends,
Siouxsie and the Banshees,
Laurel Aitken,
Johnny Clarke,
Camron Feat. Jay Z And Juelz,
Marcia Griffiths,
X-101,
LL Cool J,
Kayak,
Crash Course in Science,
Gary Puckett & The Union Gap,
John Lydon,
The Grass Roots,
Ornette Coleman,
John Holt,
Second Layer,
Cymande,
Dead Boys,
Bobby Sherman,
Letta Mbulu,
Max Romeo,
Wighnomy Brothers & Robag Wruhme,
the Soft Cell,
Sandy B,
Gang Starr,
The Leaves,
Skarface,
Terror Squad Feat. Camron,
U.S. Maple,
The Standells,
Banda Bassotti,
Pantytec,
Kenny Larkin,
Brand Nubian,
Crime,
Heavy D & The Boyz,
Sällskapet,
Unrelated Segments,
The West Coast Pop Art Experimental Band,
Lower 48,
Bush Tetras,
Rahsaan Roland Kirk,
Black Bananas,
the Germs,
Slave,
Pierre Henry,
Roy Ayers,
Derrick Morgan,
Theoretical Girls,
Cecil Taylor,
H. Thieme,
Sly & The Family Stone,
Electric Prunes,
Marshall Jefferson,
Popol Vuh,
Gregory Isaacs,
Girls At Our Best!,
A Flock of Seagulls,
Q and Not U,
Ludus, Ludus, Ludus, Ludus.
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.