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 Dominica and from Edmonton.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Mexico City and Seoul.
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 Brothers Johnson to the crunk kids.
I played it at the Hacienda.
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 Country Joe & The Fish. All the underground hits.
All Interpol tracks. I heard you have a vinyl of every X-102 record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a synthesizer and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Liaisons Dangereuses record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
London Community Gospel Choir,
Ultramagnetic MC's,
Andrew Ashong & Theo Parrish,
Cabaret Voltaire,
Curtis Mayfield,
Livin' Joy,
Fat Boys,
The Smiths,
Negative Approach,
Arcadia,
Wings,
Heavy D & The Boyz,
Stockholm Monsters,
Nas,
The Velvet Underground,
Mr. Review,
Trumans Water,
Shoche,
Fatback Band,
The Real Kids,
Young Marble Giants,
Simply Red,
These Immortal Souls,
The Monochrome Set,
Faust,
Aaron Thompson,
Bobby Byrd,
The Busters,
Ten City,
Bizarre Inc.,
The Sound,
Bluetip,
Dorothy Ashby,
Gian Franco Pienzio,
The Blues Magoos,
Scan 7,
Lungfish,
Camron Feat. Memphis Bleek And Beenie Seigel,
Bush Tetras,
Brothers Johnson,
Marshall Jefferson,
Scott Walker,
Audionom,
Skarface,
Moss Icon,
Rapeman,
Sad Lovers and Giants,
Radio Birdman,
T. Rex,
PIL,
Fluxion,
Vladislav Delay,
Quadrant,
The Red Krayola,
Sparks,
The Divine Comedy,
Ornette Coleman,
Suburban Knight,
Scott Walker + Sunn O))),
Interpol,
Alison Limerick,
Sly & The Family Stone,
Jawbox, Jawbox, Jawbox, Jawbox.
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.