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 Solomon Islands and from Shanghai.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1974.
I'm losing my edge.
To all the kids in Jakarta and Woodstock.
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 rhodes sounds with much patience.
I was there when Lou Reed 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 Ultimate Spinach to the funk 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 The Toasters. All the underground hits.
All Groovy Waters tracks. I heard you have a vinyl of every Ohio Players record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a guitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Aural Exciters record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
DNA,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Oppenheimer Analysis,
Crispian St. Peters,
Joey Negro,
Bootsy's Rubber Band,
Jeru the Damaja,
Fela Kuti,
Spandau Ballet,
Livin' Joy,
Judy Mowatt,
Max Romeo,
Moby Grape,
The Jesus and Mary Chain,
Visage,
Marmalade,
Oneida,
Gerry Rafferty,
Kango’s Stein Massive,
Shoche,
Beasts of Bourbon,
Minny Pops,
Isaac Hayes,
Ludus,
Boogie Down Productions,
Soft Cell,
Eyeless In Gaza,
Rotary Connection,
Slave,
Lonnie Liston Smith,
Faust,
Wire,
Quantec,
D'Angelo,
the Germs,
The Fuzztones,
Magazine,
Howard Jones,
The Human League,
Urselle,
the Slits,
Harmonia,
The Zeros,
Jerry's Kids,
The Sound,
Idris Muhammad,
Suburban Knight,
Sister Nancy,
Aloha Tigers,
Brick,
Jimmy McGriff,
Cymande,
Michelle Simonal,
The Red Krayola,
Minor Threat,
Ajijia Myrayebe,
Massinfluence,
Nick Fraelich,
John Coltrane,
Hoover,
N.O.R.E. Featuring Pharrell,
K-Klass, K-Klass, K-Klass, K-Klass.
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.