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 Croatia and from Tehran.
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 1979.
I'm losing my edge.
To all the kids in Winnipeg and Copenhagen.
I'm losing my edge to the art-school Jakarta 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the harpsichord sounds with much patience.
I was there when Nile Rodgers 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 Khruangbin to the punk 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 Goldenarms. All the underground hits.
All Thompson Twins tracks. I heard you have a vinyl of every Mars 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 '60s cut and another box set from the '70s.
I hear you're buying a synthesizer and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The West Coast Pop Art Experimental Band record.
I hear that you and your band have sold your sitar and bought a snare.
I hear that you and your band have sold your snare and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
JFA,
Red Lorry Yellow Lorry,
Hot Snakes,
U.S. Maple,
Junior Murvin,
The Selecter,
The Angels of Light,
Lower 48,
Bill Near,
Michelle Simonal,
The Skatalites,
Flamin' Groovies,
London Community Gospel Choir,
Marshall Jefferson,
the Soft Cell,
The J.B.'s,
The Slits,
Sixth Finger,
Idris Muhammad,
Whodini,
Byron Stingily,
Avey Tare's Slasher Flicks,
Deakin,
Peter and Kerry,
Erasure,
Robert Görl,
Todd Rundgren,
Sandy B,
Chrome,
Theoretical Girls,
Warsaw,
The Stooges,
The Beau Brummels,
Smog,
Ludus,
Bootsy Collins,
The Blackbyrds,
Franke,
Vainqueur,
Boogie Down Productions,
Camron Feat. Memphis Bleek And Beenie Seigel,
Roy Ayers Ubiquity,
Arthur Verocai,
Nils Olav,
World's Most,
Gastr Del Sol,
AZ,
The Gun Club,
Ice-T,
Adolescents,
The Divine Comedy,
The Fuzztones,
Jesper Dahlbäck,
Popol Vuh,
LL Cool J,
Avey Tare,
David Axelrod,
Vaughan Mason & Crew,
Minor Threat,
John Foxx,
Scan 7,
Brand Nubian,
Big Daddy Kane, Big Daddy Kane, Big Daddy Kane, Big Daddy Kane.
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.