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 El Salvador and from Columbus.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1970.
I'm losing my edge.
To all the kids in Winnipeg and Winnipeg.
I'm losing my edge to the art-school Manchester 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 chamberlin 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 Janne Schatter to the crunk 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 Oppenheimer Analysis. All the underground hits.
All Ash Ra Tempel tracks. I heard you have a vinyl of every Barbara Tucker record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a linndrum and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Section 25 record.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masters at Work,
Visage,
Soulsonic Force,
The Invisible,
The Wake,
Harmonia,
T.S.O.L.,
New York Dolls,
Hot Snakes,
The Walker Brothers,
Ultra Naté,
Boredoms,
Kevin Saunderson,
Scan 7,
Heaven 17,
Boogie Down Productions,
The Fuzztones,
Ohio Players,
Minny Pops,
Black Sheep,
Bob Dylan,
Major Organ And The Adding Machine,
The Trojans,
Kings Of Tomorrow,
Cluster,
Piero Umiliani,
The Zeros,
Hoover,
Blossom Toes,
Rod Modell,
Brick,
Pet Shop Boys,
Sex Pistols,
The Blues Magoos,
Vainqueur,
Albert Ayler,
Spoonie Gee,
Captain Beefheart & His Magic Band,
Bobby Hutcherson,
The Fall,
Howard Jones,
Joe Finger,
Make Up,
The Young Rascals,
Pole,
Byron Stingily,
Ponytail,
Manfred Mann's Earth Band,
Magazine,
Shoche,
Dark Day,
UT,
Siouxsie and the Banshees,
Camberwell Now,
Electric Prunes,
Bill Near,
Eric Dolphy,
DJ Style,
Cheater Slicks,
Marmalade,
The Velvet Underground,
Avey Tare's Slasher Flicks,
Tom Boy,
The Chocolate Watch Band, The Chocolate Watch Band, The Chocolate Watch Band, The Chocolate Watch 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.