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 Angola and from Delhi.
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 1977.
I'm losing my edge.
To all the kids in Mexico City and Delhi.
I'm losing my edge to the art-school Columbus 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 Soft Boys practice in a loft in Cambridge.
I was working on the synthesizer sounds with much patience.
I was there when Nile Rodgers 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 Porter Ricks to the punk 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 The Victims. All the underground hits.
All Terry Callier tracks. I heard you have a vinyl of every Jesper Dahlback record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a marimba and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Marine Girls record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Subhumans,
One Last Wish,
Jimmy McGriff,
Peter and Kerry,
Nation of Ulysses,
MC5,
Ultramagnetic MC's,
Carl Craig,
The Gun Club,
Pharaoh Sanders and the Fire Engines,
Art Ensemble Of Chicago,
Accadde A,
Lucky Dragons,
Don Cherry,
UT,
The Knickerbockers,
Red Lorry Yellow Lorry,
Barbara Tucker,
Bobby Byrd,
Crispian St. Peters,
The Selecter,
Urselle,
The Music Machine,
Magazine,
The Pop Group,
Tears for Fears,
Zapp,
Suburban Knight,
Terry Callier,
Flash Fearless,
New York Dolls,
X-Ray Spex,
Althea and Donna,
Max Romeo,
Derrick May,
Mandrill,
Hoover,
The Fortunes,
Ice-T,
Make Up,
The J.B.'s,
Danielle Patucci,
The Grass Roots,
Joe Finger,
The Trojans,
Bob Dylan,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Bad Manners,
The Evens,
Steve Hackett,
Sun Ra Arkestra,
Sound Behaviour,
Dual Sessions,
Sandy B,
Amon Düül,
CMW,
Stereo Dub,
Moby Grape,
Q and Not U,
Aloha Tigers,
Albert Ayler, Albert Ayler, Albert Ayler, Albert Ayler.
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.