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 Rwanda and from Beijing.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1972.
I'm losing my edge.
To all the kids in Shanghai and Edmonton.
I'm losing my edge to the art-school Woodstock 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 chamberlin 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 Camron Feat. Memphis Bleek And Beenie Seigel to the rock kids.
I played it at CBGB's.
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 Ossler. All the underground hits.
All Loose Ends tracks. I heard you have a vinyl of every Stockholm Monsters 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 '80s.
I hear you're buying an oboe and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Oblivians record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pete Rock & C.L. Smooth,
The Neon Judgement,
Kas Product,
The Human League,
Skaos,
Erasure,
Lower 48,
Fatback Band,
DJ Sneak,
Pantaleimon,
Donny Hathaway,
Bill Wells,
CMW,
Lafayette Afro Rock Band,
Magazine,
Bobbi Humphrey,
Gil Scott-Heron & Brian Jackson,
June of 44,
The Motions,
Aural Exciters,
Captain Beefheart & His Magic Band,
Kool Moe Dee,
Metal Thangz,
The Birthday Party,
Can,
The Doobie Brothers,
FM Einheit,
Sticky Fingaz feat. Raekwon,
Frankie Knuckles,
China Crisis,
Echospace,
Kayak,
the Normal,
D'Angelo,
Oblivians,
Alison Limerick,
The Blackbyrds,
New Age Steppers,
Grandmaster Flash and the Furious Five,
Stereo Dub,
Marcia Griffiths,
The Moody Blues,
The Royal Family And The Poor,
Dorothy Ashby,
Black Sheep,
Oppenheimer Analysis,
Television Personalities,
Gregory Isaacs,
David McCallum,
The Fugs,
Loose Ends,
James Chance & The Contortions,
Half Japanese,
Joe Finger,
Ituana,
Lindisfarne,
The Skatalites,
The Victims,
Visage,
Nik Kershaw,
48th St. Collective,
The Techniques, The Techniques, The Techniques, The Techniques.
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.