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 Switzerland and from Milan.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Spokane and Toronto.
I'm losing my edge to the art-school Salvador 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 organ 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 Bad Manners to the punk 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 Vainqueur. All the underground hits.
All Franke tracks. I heard you have a vinyl of every James Chance & The Contortions record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a mellotron and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Throbbing Gristle record.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Barclay James Harvest,
Connie Case,
Scrapy,
AZ,
Dual Sessions,
Little Man,
Bad Manners,
Lungfish,
Funkadelic,
Prince Buster,
Ludus,
Royal Trux,
Sarah Menescal,
Skriet,
Ash Ra Tempel,
Rakim,
Peter & Gordon,
Glambeats Corp.,
DeepChord presents Echospace,
Supertramp,
Boz Scaggs,
Robert Wyatt,
Absolute Body Control,
Scratch Acid,
Icehouse,
Max Romeo,
K-Klass,
Faust,
Harpers Bizarre,
Intrusion,
Pussy Galore,
James Chance & The Contortions,
Jeru the Damaja,
Q and Not U,
Urselle,
Tomorrow,
John Lydon,
Pylon,
Fear,
These Immortal Souls,
Magma,
Terry Callier,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Busters,
Ultravox,
Subhumans,
Sight & Sound,
The Birthday Party,
Michelle Simonal,
The Associates,
Soft Machine,
Lafayette Afro Rock Band,
The Human League,
Fugazi,
Kauko Röyhkä ja Narttu,
New Age Steppers,
Wings,
Sly & The Family Stone,
Infiniti,
Gang Gang Dance,
The Toasters,
Chris & Cosey,
Gabor Szabo, Gabor Szabo, Gabor Szabo, Gabor Szabo.
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.