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 Kosovo and from Johannesburg.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Lyon and Mexico City.
I'm losing my edge to the art-school Bologna 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 mellotron 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 Wolf Eyes to the punk kids.
I played it at the Crocodile.
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 Bill Wells. All the underground hits.
All Oppenheimer Analysis tracks. I heard you have a vinyl of every Rapeman record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a marimba and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Electric Prunes record.
I hear that you and your band have sold your spring reverb and bought a 808.
I hear that you and your band have sold your 808 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?
LL Cool J,
the Slits,
ABBA,
The Invisible,
John Coltrane,
Motorama,
Susan Cadogan,
The Beau Brummels,
Hasil Adkins,
Ten City,
Anthony Braxton,
Malaria!,
Slick Rick,
Ornette Coleman,
Camouflage,
Loose Ends,
Hardrive,
Sällskapet,
The Happenings,
PIL,
Spandau Ballet,
Beasts of Bourbon,
Nils Olav,
Angels of Light & Akron/Family,
Rites of Spring,
Yusef Lateef,
JFA,
The Monochrome Set,
The Litter,
Gang Gang Dance,
Soft Machine,
Eddi Front,
Quando Quango,
Outsiders,
Sugar Minott,
the Fania All-Stars,
The Divine Comedy,
Intrusion,
The Seeds,
Audionom,
Jerry Gold Smith,
Kerrie Biddell,
Gian Franco Pienzio,
Scott Walker,
Quadrant,
Pantytec,
Mad Mike,
The Durutti Column,
Fela Kuti,
Aswad,
The Skatalites,
Cameo,
Magazine,
Reuben Wilson,
Sight & Sound,
David Axelrod,
The Saints,
Bang on a Can All-Stars,
Boz Scaggs,
Wally Richardson,
Swell Maps,
Strawberry Alarm Clock,
Infiniti,
Joe Smooth, Joe Smooth, Joe Smooth, Joe Smooth.
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.