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 Montenegro and from Sao Paulo.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1961 to 1978.
I'm losing my edge.
To all the kids in Copenhagen and Glasgow.
I'm losing my edge to the art-school Johannesburg 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 sitar sounds with much patience.
I was there when Michael McDonald 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 Janne Schatter to the dance kids.
I played it at the Crocodile.
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 Pussy Galore. All the underground hits.
All Todd Terry tracks. I heard you have a vinyl of every The West Coast Pop Art Experimental Band record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a sitar and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Gap Band record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joyce Sims,
Angels of Light & Akron/Family,
Dual Sessions,
Neil Young,
Bobby Womack,
Roxette,
This Heat,
Neu!,
Slave,
The Men They Couldn't Hang,
Goldenarms,
Lucky Dragons,
Sonny Sharrock,
The Smiths,
The Alarm Clocks,
Essential Logic,
Fifty Foot Hose,
Larry & the Blue Notes,
The Walker Brothers,
Rotary Connection,
John Coltrane,
Peter & Gordon,
Angry Samoans,
The Slackers,
Scan 7,
Fad Gadget,
Siglo XX,
Deadbeat,
The Five Americans,
Chris & Cosey,
Jerry's Kids,
X-102,
The Gladiators,
The Remains,
Spandau Ballet,
Ultravox,
Wally Richardson,
Bronski Beat,
Warren Ellis,
Art Ensemble Of Chicago,
Agent Orange,
Faust,
The Index,
UT,
Soft Machine,
B.T. Express,
Pole,
Freddie Wadling,
Pantaleimon,
CMW,
Agitation Free,
Masters at Work,
Marc Almond,
Banda Bassotti,
The Cosmic Jokers,
Radiopuhelimet,
Gregory Isaacs,
the Germs,
Amon Düül,
The Golliwogs,
Fela Kuti,
Main Source,
Scrapy,
John Lydon, John Lydon, John Lydon, John Lydon.
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.