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 Korea North and from Lagos.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Portland and Paris.
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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the marimba sounds with much patience.
I was there when Robert Palmer 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 Radio Birdman to the rock 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 Art Ensemble Of Chicago. All the underground hits.
All Steve Hackett tracks. I heard you have a vinyl of every Ash Ra Tempel 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 '50s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Hardrive record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Subhumans,
Brand Nubian,
Siouxsie and the Banshees,
Eurythmics,
Gregory Isaacs,
Brass Construction,
The Barracudas,
Theoretical Girls,
Soulsonic Force,
Tom Boy,
The Seeds,
Jerry's Kids,
Rahsaan Roland Kirk,
D'Angelo,
K-Klass,
48th St. Collective,
Rosa Yemen,
Ronnie Foster,
Aaron Thompson,
Index,
Symarip,
Rhythm & Sound,
Section 25,
Sonic Youth,
DeepChord presents Echospace,
Ultramagnetic MC's,
Altered Images,
Piero Umiliani,
Dual Sessions,
Black Bananas,
Terror Squad Feat. Camron,
Johnny Osbourne,
The Evens,
Make Up,
Derrick May,
Accadde A,
Kerri Chandler,
Eric Copeland,
Dark Day,
Pagans,
Lou Christie,
Severed Heads,
Camouflage,
Pole,
Interpol,
Stiv Bators,
Fifty Foot Hose,
Maleditus Sound,
Amon Düül II,
Terry Callier,
Rhythim Is Rhythim,
Iggy Pop,
Saccharine Trust,
the Fania All-Stars,
The Standells,
Selector Dub Narcotic,
Liaisons Dangereuses,
The Gladiators,
Howard Jones,
10cc,
Can,
EPMD, EPMD, EPMD, EPMD.
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.