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 Bahrain and from Columbus.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Lille and Seoul.
I'm losing my edge to the art-school Spokane 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the sitar sounds with much patience.
I was there when Robert Palmer 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 Von Mondo to the crunk 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 Aaron Thompson. All the underground hits.
All Underground Resistance tracks. I heard you have a vinyl of every Sugar Minott record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a chamberlin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Terry Callier record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sonny Sharrock,
Siouxsie and the Banshees,
Lower 48,
The Alarm Clocks,
Subhumans,
Brothers Johnson,
U.S. Maple,
Harmonia,
Bad Manners,
Scratch Acid,
Suicide,
Minor Threat,
The Invisible,
Louis and Bebe Barron,
Young Marble Giants,
Royal Trux,
KRS-One,
The Skatalites,
Stiv Bators,
Pulsallama,
The Star Department,
Moebius,
London Community Gospel Choir,
Spandau Ballet,
Cecil Taylor,
Tres Demented,
Gang Gang Dance,
World's Most,
K-Klass,
Kenny Larkin,
Liaisons Dangereuses,
Pole,
Big Daddy Kane,
The Trojans,
Desert Stars,
cv313,
Animal Collective,
Thompson Twins,
The Busters,
Anthony Braxton,
Audionom,
The Durutti Column,
Can,
Kerrie Biddell,
Manfred Mann's Earth Band,
The Blackbyrds,
Moby Grape,
Godley & Creme,
Carl Craig,
Main Source,
The Fugs,
X-102,
Patti Smith,
CMW,
Prince Buster,
The Divine Comedy,
The Grass Roots,
Guru Guru,
James White and The Blacks,
The Walker Brothers,
H. Thieme, H. Thieme, H. Thieme, H. Thieme.
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.