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 Mali and from Copenhagen.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Bremen and Lyon.
I'm losing my edge to the art-school Tehran 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 1978 at the first Visage practice in a loft in London.
I was working on the clarinet 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 Minor Threat to the rap 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 Harry Pussy. All the underground hits.
All the Association tracks. I heard you have a vinyl of every LL Cool J 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 '50s cut and another box set from the '80s.
I hear you're buying a theremin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a kango's stein massive record.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pole,
Babytalk,
Man Parrish,
Livin' Joy,
Sam Rivers,
The Golliwogs,
Bill Wells,
Skarface,
Whodini,
Kango’s Stein Massive,
Bang on a Can All-Stars,
Dual Sessions,
James White and The Blacks,
Pussy Galore,
Steve Hackett,
The Red Krayola,
The Cosmic Jokers,
Liliput,
The Move,
Hasil Adkins,
Pantytec,
Scrapy,
June of 44,
Sugar Minott,
Minnie Riperton,
Ralphi Rosario,
David Axelrod,
Magazine,
Bobby Womack,
Shuggie Otis,
Angry Samoans,
Eyeless In Gaza,
Matthew Halsall,
Toni Rubio,
Sällskapet,
Malaria!,
Glambeats Corp.,
Marmalade,
Barry Ungar,
Fear,
Davy DMX,
Ajijia Myrayebe,
The Doors,
Jimmy McGriff,
Soft Machine,
Pulsallama,
Reagan Youth,
Eve St. Jones,
CMW,
Heaven 17,
Groovy Waters,
Qualms,
Television Personalities,
Sly & The Family Stone,
Roy Ayers Ubiquity,
The Selecter,
The Cowsills,
John Lydon,
Wolf Eyes,
Mr. Review,
Jawbox,
Sixth Finger,
The Modern Lovers,
Cecil Taylor,
Quando Quango, Quando Quango, Quando Quango, Quando Quango.
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.