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 Djibouti and from Manchester.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1971.
I'm losing my edge.
To all the kids in Halifax and Woodstock.
I'm losing my edge to the art-school Mumbai 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 linndrum sounds with much patience.
I was there when David Bowie 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 Vaughan Mason & Crew to the electroclash 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 Television Personalities. All the underground hits.
All Big Daddy Kane tracks. I heard you have a vinyl of every UT record on German import.
I heard that you have a white label of every seminal disco 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 an organ and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a CMW record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sly & The Family Stone,
Sun City Girls,
Stereo Dub,
The Gun Club,
Brothers Johnson,
Shuggie Otis,
Index,
Judy Mowatt,
Gil Scott Heron,
The Dirtbombs,
Liliput,
DJ Sneak,
Von Mondo,
Moebius,
Soul Sonic Force,
The Cowsills,
Spandau Ballet,
Lee Hazlewood,
Thompson Twins,
Thee Headcoats,
Bluetip,
The Gladiators,
Matthew Halsall,
Dawn Penn,
Ajijia Myrayebe,
Curtis Mayfield,
Quantec,
Shoche,
The Techniques,
Organ,
Agent Orange,
Sparks,
Nik Kershaw,
Frankie Knuckles,
Hashim,
Reagan Youth,
AZ,
Justin Hinds & The Dominoes,
OOIOO,
Lower 48,
The Kinks,
Audionom,
FM Einheit,
Nils Olav,
Kevin Saunderson,
Archie Shepp,
Barrington Levy,
The Raincoats,
David McCallum,
Q and Not U,
Black Sheep,
The Standells,
Erykah Badu,
Blake Baxter,
Deutsch Amerikanische Freundschaft,
Selector Dub Narcotic,
Circle Jerks,
Black Moon,
Jesper Dahlbäck,
Roger Hodgson,
The Blackbyrds,
Max Romeo, Max Romeo, Max Romeo, Max Romeo.
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.