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 Sweden and from Shanghai.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Johannesburg and Philadelphia.
I'm losing my edge to the art-school Mexico City 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 güiro 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 Black Moon to the disco kids.
I played it at the Spitz.
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 Al Stewart. All the underground hits.
All The Remains tracks. I heard you have a vinyl of every Kool Moe Dee 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 808 and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Angels of Light & Akron/Family record.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James Chance & The Contortions,
The Mummies,
Drive Like Jehu,
The Misunderstood,
Zapp,
Wally Richardson,
Vaughan Mason & Crew,
Oppenheimer Analysis,
Mark Hollis,
Todd Rundgren,
Susan Cadogan,
Soul Sonic Force,
Gil Scott-Heron and Jamie xx,
Pussy Galore,
PIL,
Model 500,
Deadbeat,
Essential Logic,
the Association,
Sugar Minott,
DeepChord presents Echospace,
The Pretty Things,
The Techniques,
Colin Newman,
The Grass Roots,
Roy Ayers Ubiquity,
Spoonie Gee,
UT,
Suburban Knight,
Bob Dylan,
Jacob Miller,
Soft Machine,
Rhythim Is Rhythim,
These Immortal Souls,
Juan Atkins,
Warsaw,
Pet Shop Boys,
The Mighty Diamonds,
Little Man,
Byron Stingily,
Section 25,
Q65,
Sad Lovers and Giants,
Neil Young,
Marcia Griffiths,
Michelle Simonal,
The Evens,
The Sound,
Major Organ And The Adding Machine,
Monolake,
The Slackers,
Eyeless In Gaza,
Make Up,
Ultramagnetic MC's,
Pharaoh Sanders and the Fire Engines,
Tomorrow,
Leonard Cohen,
The Electric Prunes,
Fugazi, Fugazi, Fugazi, Fugazi.
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.