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 Luxembourg and from Portland.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1967 to 1974.
I'm losing my edge.
To all the kids in Portland and Paris.
I'm losing my edge to the art-school Jakarta 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 spring reverb sounds with much patience.
I was there when Nile Rodgers 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 Oppenheimer Analysis to the rap kids.
I played it at the Roxy.
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 Radio Birdman. All the underground hits.
All Harry Pussy tracks. I heard you have a vinyl of every Oneida record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying an oboe and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Birthday Party record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mission of Burma,
Q and Not U,
Bluetip,
Kurtis Blow,
Boz Scaggs,
Barbara Tucker,
The Tremeloes,
Sarah Menescal,
Cabaret Voltaire,
CMW,
10cc,
Max Romeo,
Saccharine Trust,
Charles Mingus,
Clear Light,
Amon Düül,
Inner City,
Young Marble Giants,
Richard Hell and the Voidoids,
Oppenheimer Analysis,
Thee Headcoats,
The Shadows of Knight,
Traffic Nightmare,
Rapeman,
James Chance & The Contortions,
the Soft Cell,
Big Daddy Kane,
The Fugs,
China Crisis,
Popol Vuh,
Urselle,
Depeche Mode,
Brothers Johnson,
Delta 5,
Main Source,
Section 25,
La Düsseldorf,
Basic Channel,
Morten Harket,
Soft Cell,
Lightning Bolt,
Funky Four + One,
Wings,
Maurizio,
Darondo,
The Grass Roots,
Scrapy,
Nas,
The Walker Brothers,
The Chocolate Watch Band,
The Smoke,
Wighnomy Brothers & Robag Wruhme,
Iggy Pop,
The Knickerbockers,
Leonard Cohen,
The Kinks,
Motorama,
Black Flag,
Minnie Riperton,
a-ha,
Gary Puckett & The Union Gap,
Lafayette Afro Rock Band, Lafayette Afro Rock Band, Lafayette Afro Rock Band, Lafayette Afro Rock Band.
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.