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 Iran and from Philadelphia.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1978.
I'm losing my edge.
To all the kids in Delhi and Tokyo.
I'm losing my edge to the art-school Milan 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 arpeggiator 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 The Walker Brothers to the rap kids.
I played it at Cafe Wha.
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 Nas. All the underground hits.
All David McCallum tracks. I heard you have a vinyl of every Big Daddy Kane 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 '80s cut and another box set from the '90s.
I hear you're buying a 808 and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Black Pus record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fluxion,
Slave,
Rahsaan Roland Kirk,
Judy Mowatt,
Super Lover Cee & Casanova Rud,
Swell Maps,
Tubeway Army,
Smog,
Kool Moe Dee,
Pet Shop Boys,
Pussy Galore,
Rapeman,
Fort Wilson Riot,
The Fall,
Robert Wyatt,
Rakim,
Rotary Connection,
Bobbi Humphrey,
Qualms,
Josef K,
Shuggie Otis,
The Five Americans,
Aloha Tigers,
Tears for Fears,
Archie Shepp,
Anakelly,
Liaisons Dangereuses,
The Doors,
Jesper Dahlback,
The Barracudas,
Letta Mbulu,
B.T. Express,
Godley & Creme,
Unwound,
Sällskapet,
Terrestrial Tones,
Art Ensemble Of Chicago,
Harmonia,
A Flock of Seagulls,
Howard Jones,
X-101,
Isaac Hayes,
The Gun Club,
Steve Hackett,
Fear,
Eurythmics,
Jandek,
CMW,
The Black Dice,
Michelle Simonal,
Schoolly D,
Connie Case,
The Toasters,
Mad Mike,
Glambeats Corp.,
Sonic Youth,
Deakin,
Gang Starr,
Neil Young & Crazy Horse,
Blossom Toes,
Bluetip,
The Dead C,
Urselle, Urselle, Urselle, Urselle.
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.