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 El Salvador and from Copenhagen.
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 Edmonton and Calgary.
I'm losing my edge to the art-school London 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 1973 at the first Television practice in a loft in New York.
I was working on the 808 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 Mandrill to the jazz 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 Adolescents. All the underground hits.
All DeepChord presents Echospace tracks. I heard you have a vinyl of every Camron Feat. Memphis Bleek And Beenie Seigel record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a chamberlin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Urselle record.
I hear that you and your band have sold your snare and bought a sitar.
I hear that you and your band have sold your sitar and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Alarm Clocks,
Lou Reed,
Rhythm & Sound,
Bill Wells,
Das Ding,
Bobby Hutcherson,
Camron Feat. Memphis Bleek And Beenie Seigel,
Franke,
The Royal Family And The Poor,
Radiohead,
Lalann,
Röyhkä ja Rättö ja Lehtisalo,
Anthony Braxton,
Pet Shop Boys,
Cameo,
Idris Muhammad,
Joy Division,
Smog,
Spandau Ballet,
Heaven 17,
Rites of Spring,
Yellowson,
The Velvet Underground,
the Sonics,
Public Image Ltd.,
Ten City,
Mary Jane Girls,
The West Coast Pop Art Experimental Band,
Sonny Sharrock,
Dead Boys,
Adolescents,
Boz Scaggs,
Moss Icon,
The Mummies,
Nas,
Hashim,
Lou Christie,
Excepter,
New Order,
Popol Vuh,
Eric B and Rakim,
Neil Young,
Bootsy Collins,
The Flesh Eaters,
Man Parrish,
Theoretical Girls,
PIL,
Todd Rundgren,
Glenn Branca,
Cluster,
Blancmange,
Gil Scott Heron,
Ornette Coleman,
Carl Craig,
Altered Images,
Stereo Dub,
Pere Ubu,
Chris & Cosey,
Warsaw,
Buzzcocks,
Todd Terry,
Mars,
Sarah Menescal,
Barrington Levy,
Fear, Fear, Fear, Fear.
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.