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 Poland and from Taipei.
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 1974.
I'm losing my edge.
To all the kids in Columbus and Copenhagen.
I'm losing my edge to the art-school Accra 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the sitar sounds with much patience.
I was there when Holger Czukay 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 Minny Pops 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 Crime. All the underground hits.
All The Skatalites tracks. I heard you have a vinyl of every Lafayette Afro Rock Band 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 '50s cut and another box set from the '80s.
I hear you're buying a snare and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Girls At Our Best! record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Slits,
X-Ray Spex,
Marc Almond,
Joyce Sims,
Ponytail,
Quantec,
Ohio Players,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Agent Orange,
The Red Krayola,
Deadbeat,
Captain Beefheart & His Magic Band,
ABBA,
Marshall Jefferson,
Mary Jane Girls,
Slave,
H. Thieme,
Wire,
Loose Ends,
Bill Wells,
Gary Puckett & The Union Gap,
Goldenarms,
Kerri Chandler,
Radio Birdman,
Graham Central Station,
Lou Reed & John Cale,
Bob Dylan,
Roger Hodgson,
Black Sheep,
FM Einheit,
Sixth Finger,
Zero Boys,
Tom Boy,
Cabaret Voltaire,
Faraquet,
The Black Dice,
DJ Sneak,
Bootsy's Rubber Band,
Girls At Our Best!,
The Techniques,
The Buckinghams,
Maleditus Sound,
Sun City Girls,
Crash Course in Science,
Deakin,
Amon Düül,
Au Pairs,
Ronan,
Public Image Ltd.,
It's A Beautiful Day,
Neu!,
ABC,
Robert Görl,
John Coltrane,
Simply Red,
Country Joe & The Fish,
Thinking Fellers Union Local 282,
Nik Kershaw,
Khruangbin,
Rekid,
The Standells,
Schoolly D,
The Selecter, The Selecter, The Selecter, The Selecter.
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.