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 Antigua and from Lille.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Johannesburg and Manchester.
I'm losing my edge to the art-school Milan 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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the 808 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 David Axelrod to the dance kids.
I played it at the 40 Watt.
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 Q65. All the underground hits.
All Wire tracks. I heard you have a vinyl of every Public Enemy 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 '70s cut and another box set from the '90s.
I hear you're buying a spring reverb and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Moss Icon record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ponytail,
Brick,
June Days,
Grandmaster Flash,
X-101,
Dark Day,
Mandrill,
Newcleus,
The Angels of Light,
Sound Behaviour,
Sällskapet,
The Fugs,
Trumans Water,
Marc Almond,
The Kinks,
Joe Smooth,
New Age Steppers,
Orchestral Manoeuvres in the Dark,
JFA,
Liaisons Dangereuses,
Monolake,
Talk Talk,
Royal Trux,
Carl Craig,
Wasted Youth,
Harmonia,
Average White Band,
Bad Manners,
The Barracudas,
Sight & Sound,
Black Bananas,
The Buckinghams,
Terror Squad Feat. Camron,
Eli Mardock,
The Names,
The Alarm Clocks,
The Smoke,
Lower 48,
Aural Exciters,
Erasure,
Das Ding,
Junior Murvin,
Con Funk Shun,
Cal Tjader,
Judy Mowatt,
Desert Stars,
Deakin,
Warsaw,
Rekid,
Skarface,
A Certain Ratio,
Los Fastidios,
Dual Sessions,
Stereo Dub,
Fear,
The Martian,
The Neon Judgement,
Rod Modell,
Connie Case,
Michelle Simonal,
Mission of Burma,
The Moody Blues,
Notorious Big And Bone Thugs, Notorious Big And Bone Thugs, Notorious Big And Bone Thugs, Notorious Big And Bone Thugs.
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.