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 London.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1963 to 1973.
I'm losing my edge.
To all the kids in Columbus and London.
I'm losing my edge to the art-school Toronto 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 arpeggiator sounds with much patience.
I was there when Donald Fagen 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 Eve St. Jones to the jazz kids.
I played it at Cafe Wha.
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 Ultra Naté. All the underground hits.
All Deutsch Amerikanische Freundschaft tracks. I heard you have a vinyl of every Blossom Toes record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a harpsichord and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The American Breed record.
I hear that you and your band have sold your mellotron and bought a 808.
I hear that you and your band have sold your 808 and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bill Wells,
The Wake,
The Mighty Diamonds,
Rhythm & Sound,
The Doobie Brothers,
Mr. Review,
Harpers Bizarre,
Grey Daturas,
Glenn Branca,
Tom Boy,
Kauko Röyhkä ja Narttu,
The Gun Club,
Angels of Light & Akron/Family,
Justin Hinds & The Dominoes,
Tim Buckley,
The Royal Family And The Poor,
Jawbox,
Black Moon,
The Star Department,
Los Fastidios,
Grandmaster Flash and the Furious Five,
Negative Approach,
Youth Brigade,
Au Pairs,
Charles Mingus,
Red Lorry Yellow Lorry,
Pantytec,
Marmalade,
Brand Nubian,
The Offenders,
Brass Construction,
Tomorrow,
Gary Puckett & The Union Gap,
Talk Talk,
Young Marble Giants,
Piero Umiliani,
Lou Reed,
Ralphi Rosario,
The Trojans,
Yaz,
Television,
Goldenarms,
The Knickerbockers,
Eurythmics,
The Index,
Ronnie Foster,
Parry Music,
Arab on Radar,
Main Source,
The Monks,
Art Ensemble Of Chicago,
Soft Machine,
Roy Ayers Ubiquity,
E-Dancer,
The Birthday Party,
Be Bop Deluxe,
Lou Reed & John Cale,
the Association,
Shoche,
Heavy D & The Boyz,
Isaac Hayes,
Kerri Chandler,
Amon Düül II, Amon Düül II, Amon Düül II, Amon Düül II.
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.