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 Bhutan and from Philadelphia.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1976.
I'm losing my edge.
To all the kids in Lyon and Philadelphia.
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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the clarinet 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 World's Most to the grime 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 Gil Scott Heron. All the underground hits.
All Arthur Verocai tracks. I heard you have a vinyl of every KRS-One record on German import.
I heard that you have a white label of every seminal dance 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 a sitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The American Breed record.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Big Daddy Kane,
Cameo,
Fad Gadget,
The Martian,
Neil Young,
Joe Smooth,
The Fugs,
Maurizio,
Stockholm Monsters,
Amon Düül,
Camron Feat. Memphis Bleek And Beenie Seigel,
Franke,
Gerry Rafferty,
Be Bop Deluxe,
Lou Reed & Metallica,
The Sound,
Fort Wilson Riot,
The Doobie Brothers,
Index,
Loose Ends,
Crooked Eye,
Absolute Body Control,
David McCallum,
the Normal,
Glenn Branca,
Pete Rock & C.L. Smooth,
Cabaret Voltaire,
The Barracudas,
Peter and Kerry,
The Dave Clark Five,
The Wake,
Aural Exciters,
The Cure,
Thompson Twins,
Deakin,
Pierre Henry,
Black Sheep,
Gang Gang Dance,
Major Organ And The Adding Machine,
Alison Limerick,
The Remains,
Matthew Halsall,
Brass Construction,
The Detroit Cobras,
James White and The Blacks,
Tears for Fears,
Cluster,
Clear Light,
the Sonics,
Pharaoh Sanders and the Fire Engines,
Manfred Mann's Earth Band,
Dr. Dre and Snoop Doggy Dog,
Lonnie Liston Smith,
Scan 7,
Piero Umiliani,
Jesper Dahlbäck,
EPMD,
Marine Girls,
Lakeside,
Tommy Roe,
Liaisons Dangereuses,
The Fortunes, The Fortunes, The Fortunes, The Fortunes.
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.