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 New Zealand and from Johannesburg.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1978.
I'm losing my edge.
To all the kids in Bremen and Glasgow.
I'm losing my edge to the art-school Taipei 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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the arpeggiator 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 The Busters to the punk kids.
I played it at Trash.
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 Ultra Naté. All the underground hits.
All Albert Ayler tracks. I heard you have a vinyl of every Freddie Wadling record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a guitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Amon Düül II 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?
Danielle Patucci,
Guru Guru,
Morten Harket,
Aswad,
The Barracudas,
The Fuzztones,
Johnny Clarke,
Can,
Marc Romboy vs. Booka Shade,
Gang Green,
The Red Krayola,
Fear,
Crispian St. Peters,
The Modern Lovers,
Jacob Miller,
Carl Craig,
These Immortal Souls,
The Music Machine,
Jerry's Kids,
Make Up,
8 Eyed Spy,
The Cowsills,
Magazine,
Sonic Youth,
Symarip,
Yazoo,
Radiohead,
Peter and Kerry,
Radio Birdman,
The Gladiators,
Graham Central Station,
Jimmy McGriff,
The Mighty Diamonds,
The Victims,
Arab on Radar,
Kool G Rap & DJ Polo,
Bobbi Humphrey,
Jeff Mills,
Audionom,
Q and Not U,
The Dave Clark Five,
Electric Prunes,
Surgeon,
The Sonics,
Matthew Halsall,
Interpol,
the Soft Cell,
Maurizio,
Man Eating Sloth,
Liliput,
Judy Mowatt,
The Index,
Slave,
Pantaleimon,
Marvin Gaye,
The Five Americans,
MC5,
Electric Light Orchestra,
The Angels of Light,
Terry Callier,
The Doors,
Visionaries,LMNO, T- Love & Iriscience,
Bizarre Inc.,
Shuggie Otis,
Bootsy Collins, Bootsy Collins, Bootsy Collins, Bootsy Collins.
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.