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 the UAE and from Stockholm.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1975.
I'm losing my edge.
To all the kids in Mexico City and Winnipeg.
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 synthesizer 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 Erasure to the crunk kids.
I played it at the Roxy.
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 Eric Dolphy. All the underground hits.
All James Chance & The Contortions tracks. I heard you have a vinyl of every Blake Baxter record on German import.
I heard that you have a white label of every seminal electroclash 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 güiro and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Big Daddy Kane record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Barclay James Harvest,
Pantytec,
Harmonia,
Pharoah Sanders,
Intrusion,
La Düsseldorf,
Chris Corsano,
Quadrant,
Oppenheimer Analysis,
The Gories,
JFA,
Charles Mingus,
Supertramp,
Terrestrial Tones,
Crispy Ambulance,
Mandrill,
The Leaves,
The Walker Brothers,
10cc,
Lou Reed,
Susan Cadogan,
Michelle Simonal,
The Zeros,
Masters at Work,
Matthew Bourne,
Rowland S Howard / Lydia Lunch,
Roxy Music,
Tubeway Army,
Dawn Penn,
The Smoke,
The Shadows of Knight,
the Human League,
The Beau Brummels,
Louis and Bebe Barron,
Al Stewart,
Mad Mike,
The Remains,
The Monochrome Set,
Public Enemy,
X-Ray Spex,
Sexual Harrassment,
Camron Feat. Memphis Bleek And Beenie Seigel,
Howard Jones,
Terror Squad Feat. Camron,
Aloha Tigers,
Ornette Coleman,
Pylon,
The Searchers,
Bob Dylan,
Arab on Radar,
Avey Tare & Kría Brekkan,
Excepter,
Bang On A Can,
The Birthday Party,
Bauhaus,
Justin Hinds & The Dominoes,
The Divine Comedy,
Animal Collective,
Yusef Lateef,
Das Ding, Das Ding, Das Ding, Das Ding.
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.