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 Greece and from Paris.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Portland and Mumbai.
I'm losing my edge to the art-school Copenhagen 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 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 Supertramp to the jazz kids.
I played it at CBGB's.
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 Notorious BIG live in Amsterdam. All the underground hits.
All Neil Young & Crazy Horse tracks. I heard you have a vinyl of every The Peanut Butter Conspiracy record on German import.
I heard that you have a white label of every seminal disco 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 linndrum and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Joey Negro record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bootsy's Rubber Band,
The Velvet Underground,
Crispian St. Peters,
Bizarre Inc.,
Lebanon Hanover,
Alice Coltrane,
Yusef Lateef,
Easy Going,
T.S.O.L.,
Cal Tjader,
Thinking Fellers Union Local 282,
Amon Düül II,
John Holt,
Robert Görl,
Andrew Ashong & Theo Parrish,
Little Man,
Orchestral Manoeuvres in the Dark,
Monks,
Zapp,
Joensuu 1685,
Boz Scaggs,
Nation of Ulysses,
Fifty Foot Hose,
The Beau Brummels,
The Stooges,
Ultravox,
Grey Daturas,
Skaos,
The Martian,
Althea and Donna,
Qualms,
Siouxsie and the Banshees,
Eric Dolphy,
Spandau Ballet,
Sly & The Family Stone,
Adolescents,
The American Breed,
Man Eating Sloth,
The Slackers,
Röyhkä ja Rättö ja Lehtisalo,
Amazonics,
the Normal,
Peter & Gordon,
Warren Ellis,
Frankie Knuckles,
Tommy Roe,
The Human League,
Dorothy Ashby,
Roy Ayers Ubiquity,
Mandrill,
The Chocolate Watch Band,
Icehouse,
the Germs,
R.M.O.,
The Moleskins,
Barry Ungar,
The Tremeloes,
The Smiths,
Television Personalities,
Susan Cadogan,
Avey Tare, Avey Tare, Avey Tare, Avey Tare.
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.