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 Kazakhstan and from Taipei.
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 1962 to 1979.
I'm losing my edge.
To all the kids in Milan and Tokyo.
I'm losing my edge to the art-school Glasgow 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 1967 at the first Rodriguez practice in a loft in Detroit.
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 Icehouse to the dance kids.
I played it at CBGB's.
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 Brand Nubian. All the underground hits.
All Howard Jones tracks. I heard you have a vinyl of every Justin Hinds & The Dominoes record on German import.
I heard that you have a white label of every seminal rap 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 a chamberlin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Bobbi Humphrey record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Coltrane,
The Young Rascals,
Whodini,
Sonic Youth,
Surgeon,
Bauhaus,
Parry Music,
Maleditus Sound,
Sly & The Family Stone,
John Cale,
ABBA,
Depeche Mode,
Lee Hazlewood,
Minnie Riperton,
Prince Buster,
Cheater Slicks,
The Black Dice,
Connie Case,
Pole,
Pagans,
Arcadia,
The Victims,
Scott Walker,
Beasts of Bourbon,
Reuben Wilson,
The Doors,
Kauko Röyhkä ja Narttu,
Warren Ellis,
Rites of Spring,
The Sound,
Notorious Big And Bone Thugs,
Scratch Acid,
The Beau Brummels,
Grey Daturas,
Sex Pistols,
Andrew Ashong & Theo Parrish,
Funkadelic,
Chris Corsano,
Ice-T,
Delon & Dalcan,
Franke,
The American Breed,
The Raincoats,
The Mojo Men,
Spandau Ballet,
Louis and Bebe Barron,
Boogie Down Productions,
Harpers Bizarre,
Tim Buckley,
The Mummies,
Yusef Lateef,
Clear Light,
Pulsallama,
David Axelrod,
The Litter,
Red Lorry Yellow Lorry,
Susan Cadogan,
Dorothy Ashby,
Fugazi,
The Zeros, The Zeros, The Zeros, The Zeros.
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.