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 Zimbabwe and from Woodstock.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Copenhagen and Houston.
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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the 808 sounds with much patience.
I was there when Lou Reed 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 Electric Prunes to the punk 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 Faraquet. All the underground hits.
All Los Fastidios tracks. I heard you have a vinyl of every Eric Dolphy record on German import.
I heard that you have a white label of every seminal electroclash 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 mellotron and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Art Ensemble Of Chicago record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Accadde A,
Bluetip,
Blake Baxter,
Ohio Players,
Rapeman,
ABBA,
Khruangbin,
Fatback Band,
Animal Collective,
John Cale,
Ultra Naté,
Joe Smooth,
Hashim,
Ultramagnetic MC's,
David McCallum,
Marmalade,
Bobbi Humphrey,
Peter Gordon & Love of Life Orchestra,
the Association,
Mars,
the Germs,
The Golliwogs,
Hasil Adkins,
Lafayette Afro Rock Band,
Rakim,
The Fall,
Davy DMX,
The Jesus and Mary Chain,
Unwound,
R.M.O.,
Eric B and Rakim,
B.T. Express,
Main Source,
Boredoms,
Index,
Black Sheep,
Beasts of Bourbon,
Ash Ra Tempel,
The Shadows of Knight,
Archie Shepp,
Sexual Harrassment,
Agent Orange,
Maurizio,
Prince Buster,
Sun Ra,
Jesper Dahlbäck,
Surgeon,
Dr. Dre and Snoop Doggy Dog,
The Beau Brummels,
the Bar-Kays,
Country Joe & The Fish,
Echo & the Bunnymen,
H. Thieme,
Ultravox,
Television Personalities,
the Soft Cell,
Marc Almond,
The Mighty Diamonds,
Underground Resistance,
Electric Prunes,
Interpol, Interpol, Interpol, Interpol.
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.