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 Uruguay and from London.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1978.
I'm losing my edge.
To all the kids in Beijing and Woodstock.
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 1973 at the first Television practice in a loft in New York.
I was working on the rhodes sounds with much patience.
I was there when Michael McDonald 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 Kool Moe Dee to the electroclash 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 Main Source. All the underground hits.
All Maleditus Sound tracks. I heard you have a vinyl of every Eric Copeland record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a güiro and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Bad Manners record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Young Rascals,
Roy Ayers,
It's A Beautiful Day,
the Slits,
The Count Five,
The Tremeloes,
The Cramps,
Model 500,
Albert Ayler,
Archie Shepp,
Khruangbin,
Pole,
48th St. Collective,
Simply Red,
Wolf Eyes,
Los Fastidios,
Reagan Youth,
Can,
Fat Boys,
Rosa Yemen,
Alphaville,
The Smoke,
The Alarm Clocks,
Pet Shop Boys,
Ken Boothe,
The Gladiators,
Rakim,
Oneida,
Arab on Radar,
Amazonics,
Peter and Kerry,
Technova,
The West Coast Pop Art Experimental Band,
LL Cool J,
Larry & the Blue Notes,
Rahsaan Roland Kirk,
The Leaves,
10cc,
Camron Feat. Memphis Bleek And Beenie Seigel,
Pantytec,
The Happenings,
Andrew Ashong & Theo Parrish,
Davy DMX,
Moby Grape,
Minny Pops,
a-ha,
Lakeside,
Nico,
Funky Four + One,
Jacob Miller,
Tubeway Army,
The Dirtbombs,
Lafayette Afro Rock Band,
A Certain Ratio,
Röyhkä ja Rättö ja Lehtisalo,
Country Teasers,
Country Joe & The Fish,
Faust,
Rod Modell,
The Residents,
Vladislav Delay,
The Kinks, The Kinks, The Kinks, The Kinks.
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.