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 Taiwan and from Mexico City.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Taipei and Mexico City.
I'm losing my edge to the art-school Calgary 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 güiro 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 X-102 to the jazz 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 Morten Harket. All the underground hits.
All The Jesus and Mary Chain tracks. I heard you have a vinyl of every Bad Manners record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a theremin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Gil Scott-Heron & Brian Jackson record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Accadde A,
Bill Wells,
Faraquet,
Fela Kuti,
The Leaves,
Public Enemy,
X-102,
The Move,
Soul II Soul,
Qualms,
CMW,
Ten City,
Can,
The Standells,
Jacob Miller,
Steve Hackett,
Cheater Slicks,
Royal Trux,
Joensuu 1685,
Man Parrish,
Spoonie Gee,
Alphaville,
Joy Division,
Brick,
The Slackers,
Malaria!,
Notorious Big And Bone Thugs,
Ossler,
The Divine Comedy,
UT,
The Fire Engines,
Unwound,
Funkadelic,
Shuggie Otis,
The Stooges,
Lou Reed & John Cale,
Scott Walker,
Selector Dub Narcotic,
The Doors,
Animal Collective,
Cal Tjader,
Rapeman,
Marshall Jefferson,
Aloha Tigers,
Letta Mbulu,
Bill Near,
Basic Channel,
John Coltrane,
Janne Schatter,
Kings Of Tomorrow,
Lyres,
Sight & Sound,
Sly & The Family Stone,
The Angels of Light,
Barbara Tucker,
Con Funk Shun,
Eden Ahbez,
The Residents,
It's A Beautiful Day,
Deepchord,
The Shadows of Knight,
Terror Squad Feat. Camron, Terror Squad Feat. Camron, Terror Squad Feat. Camron, Terror Squad Feat. Camron.
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.