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 Tunisia 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 1968 to 1977.
I'm losing my edge.
To all the kids in Taipei and Stockholm.
I'm losing my edge to the art-school Lagos 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the güiro 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 the Bar-Kays to the techno kids.
I played it at the Astoria.
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 Black Bananas. All the underground hits.
All Intrusion tracks. I heard you have a vinyl of every The Searchers record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Monks record.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Peter and Kerry,
Camron Feat. Memphis Bleek And Beenie Seigel,
Sällskapet,
AZ,
Andrew Ashong & Theo Parrish,
Amon Düül,
The Gories,
John Coltrane,
Young Marble Giants,
Half Japanese,
Bronski Beat,
the Bar-Kays,
David McCallum,
The Invisible,
Blancmange,
The Men They Couldn't Hang,
Jeru the Damaja,
The Birthday Party,
FM Einheit,
Derrick May,
Captain Beefheart & His Magic Band,
The Zeros,
Cameo,
The Star Department,
Frankie Knuckles,
Rufus Thomas,
Yusef Lateef,
June Days,
Orchestral Manoeuvres in the Dark,
La Düsseldorf,
LL Cool J,
Jesper Dahlbäck,
Oppenheimer Analysis,
Scratch Acid,
Unwound,
Eyeless In Gaza,
Bill Wells,
Lucky Dragons,
Pierre Henry,
F. McDonald,
The Martian,
The Wake,
The Real Kids,
Barclay James Harvest,
Q65,
A Certain Ratio,
The Grass Roots,
Joey Negro,
Ituana,
Groovy Waters,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Notorious Big And Bone Thugs,
Magazine,
The Pop Group,
Peter Gordon & Love of Life Orchestra,
Bootsy's Rubber Band,
Lakeside,
Jerry's Kids,
The Tremeloes,
Scott Walker,
Terrestrial Tones, Terrestrial Tones, Terrestrial Tones, Terrestrial Tones.
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.