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 Uzbekistan and from Shanghai.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Paris and Accra.
I'm losing my edge to the art-school Beijing 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 808 sounds with much patience.
I was there when Nile Rodgers 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 John Holt to the punk kids.
I played it at the Spitz.
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 Dead Boys. All the underground hits.
All cv313 tracks. I heard you have a vinyl of every Ten City 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 '60s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Eric Dolphy record.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mark Hollis,
Funkadelic,
Traffic Nightmare,
Lonnie Liston Smith,
Scan 7,
Stiv Bators,
Red Lorry Yellow Lorry,
Terrestrial Tones,
The Young Rascals,
Bang on a Can All-Stars,
Jerry's Kids,
David Axelrod,
Hardrive,
Whodini,
Yusef Lateef,
Q65,
Eric Dolphy,
The Moleskins,
The Smiths,
Crash Course in Science,
Chris Corsano,
Rod Modell,
K-Klass,
Ronnie Foster,
Section 25,
Arab on Radar,
Ajijia Myrayebe,
This Heat,
Cymande,
Gregory Isaacs,
ABBA,
The Jesus and Mary Chain,
Heavy D & The Boyz,
Eric B and Rakim,
Avey Tare's Slasher Flicks,
Pierre Henry,
Half Japanese,
Roy Ayers,
Ornette Coleman,
The Gun Club,
Cameo,
Nick Cave & The Bad Seeds,
The Music Machine,
The Walker Brothers,
A Flock of Seagulls,
Con Funk Shun,
Pagans,
Barry Ungar,
Mars,
Tim Buckley,
Camberwell Now,
Prince Buster,
The Knickerbockers,
The Motions,
Nation of Ulysses,
De La Soul & Jungle Brothers,
Nico,
Captain Beefheart & His Magic Band,
Soul II Soul,
Lower 48,
Ken Boothe,
The Slits, The Slits, The Slits, The Slits.
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.