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 Finland and from Tehran.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Seoul and Houston.
I'm losing my edge to the art-school Manila 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 at the first Suicide practice in a loft in New York.
I was working on the snare 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 The Standells to the techno kids.
I played it at the Hacienda.
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 Bang on a Can All-Stars. All the underground hits.
All Bluetip tracks. I heard you have a vinyl of every Pet Shop Boys 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 '80s cut and another box set from the '80s.
I hear you're buying a rhodes and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The West Coast Pop Art Experimental Band record.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Popol Vuh,
Connie Case,
The Toasters,
Thinking Fellers Union Local 282,
the Association,
Shoche,
Massinfluence,
Jawbox,
The Dave Clark Five,
Cymande,
The Black Dice,
Marc Almond,
Mark Hollis,
Crash Course in Science,
The Durutti Column,
Public Enemy,
CMW,
Bizarre Inc.,
Chrome,
Trumans Water,
Rosa Yemen,
Derrick Morgan,
Kool Moe Dee,
Eric B and Rakim,
Marshall Jefferson,
The Kinks,
The Dead C,
Joyce Sims,
In Retrospect,
The Barracudas,
Neil Young & Crazy Horse,
Guru Guru,
Strawberry Alarm Clock,
Model 500,
Heaven 17,
Sparks,
Amon Düül II,
Pete Rock & C.L. Smooth,
Underground Resistance,
The Associates,
The Cramps,
Bill Near,
Hasil Adkins,
Junior Murvin,
The Count Five,
Chris & Cosey,
The Names,
The Mojo Men,
Louis and Bebe Barron,
Freddie Wadling,
Aswad,
Pulsallama,
The Gladiators,
Ultimate Spinach,
Joe Finger,
The West Coast Pop Art Experimental Band,
the Bar-Kays,
Funky Four + One,
Pharaoh Sanders and the Fire Engines, Pharaoh Sanders and the Fire Engines, Pharaoh Sanders and the Fire Engines, Pharaoh Sanders and the Fire Engines.
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.