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 Macedonia and from Lagos.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Johannesburg and Beijing.
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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the sitar sounds with much patience.
I was there when Michael McDonald 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 James White and The Blacks to the punk 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 Franke. All the underground hits.
All The Black Dice tracks. I heard you have a vinyl of every The Smiths record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a clarinet and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Japan record.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Selector Dub Narcotic,
The Gun Club,
Fear,
The Invisible,
The Pop Group,
Bob Dylan,
The Slits,
Larry & the Blue Notes,
Ultra Naté,
The Birthday Party,
Tears for Fears,
Jerry Gold Smith,
Minor Threat,
Organ,
Rekid,
The Zeros,
Newcleus,
Rhythm & Sound,
The Toasters,
Altered Images,
Shuggie Otis,
Barrington Levy,
Andrew Hill,
The Last Poets,
Brass Construction,
Bad Manners,
Lou Christie,
Arab on Radar,
Robert Görl,
The Neon Judgement,
Man Eating Sloth,
Rahsaan Roland Kirk,
Sexual Harrassment,
Scott Walker,
Black Pus,
Darondo,
Qualms,
Grauzone,
Letta Mbulu,
Lou Reed & John Cale,
The Golliwogs,
Guru Guru,
The Music Machine,
the Association,
ABC,
Rakim,
Dual Sessions,
Can,
Morten Harket,
Super Lover Cee & Casanova Rud,
The Trojans,
DNA,
Prince Buster,
The Dirtbombs,
Buzzcocks,
Minny Pops,
Erasure,
Marc Almond,
Gang Gang Dance,
Hasil Adkins,
Marine Girls,
Roxy Music,
Jacob Miller,
DJ Style,
Eric B and Rakim, Eric B and Rakim, Eric B and Rakim, Eric B and Rakim.
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.