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 Antigua and from London.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Copenhagen and Accra.
I'm losing my edge to the art-school New York 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 rhodes sounds with much patience.
I was there when Captain Beefheart 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 Mojo Men to the crunk kids.
I played it at Trash.
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 Sex Pistols. All the underground hits.
All Pylon tracks. I heard you have a vinyl of every Funkadelic record on German import.
I heard that you have a white label of every seminal techno 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 rhodes and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Popol Vuh record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord 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,
The Move,
X-101,
Carl Craig,
Aural Exciters,
Television Personalities,
The Remains,
Ajijia Myrayebe,
The Chocolate Watch Band,
Jimmy McGriff,
Surgeon,
Ornette Coleman,
Bobby Womack,
OOIOO,
The Searchers,
Oneida,
Arcadia,
Aswad,
Second Layer,
Au Pairs,
Harry Pussy,
Bill Wells,
The Human League,
Terry Callier,
The Golliwogs,
The Leaves,
Althea and Donna,
B.T. Express,
Essential Logic,
Connie Case,
The Royal Family And The Poor,
Underground Resistance,
Terror Squad Feat. Camron,
Vaughan Mason & Crew,
Public Image Ltd.,
Audionom,
Kenny Larkin,
Magma,
Bush Tetras,
Boogie Down Productions,
Minutemen,
The Kinks,
Rosa Yemen,
Monks,
Angry Samoans,
Lower 48,
John Lydon,
Gian Franco Pienzio,
T.S.O.L.,
Gary Puckett & The Union Gap,
Barrington Levy,
Peter and Kerry,
Amon Düül II,
Marc Almond,
The Red Krayola,
The Peanut Butter Conspiracy,
Con Funk Shun,
Fifty Foot Hose,
Black Sheep,
Model 500,
LL Cool J,
Rhythim Is Rhythim,
Drexciya,
Cymande, Cymande, Cymande, Cymande.
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.