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 Kenya and from Beijing.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 Woodstock and Cairo.
I'm losing my edge to the art-school Mexico City 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 güiro 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 Rosa Yemen to the techno kids.
I played it at the Spitz.
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 Peter and Kerry. All the underground hits.
All Lindisfarne tracks. I heard you have a vinyl of every Alton Ellis record on German import.
I heard that you have a white label of every seminal rock 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 organ and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Big Daddy Kane record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alton Ellis,
Inner City,
June Days,
The Real Kids,
Drexciya,
Erasure,
Traffic Nightmare,
These Immortal Souls,
Pylon,
Siouxsie and the Banshees,
MDC,
Pere Ubu,
Barry Ungar,
The Invisible,
Au Pairs,
David Axelrod,
Red Lorry Yellow Lorry,
Von Mondo,
The Men They Couldn't Hang,
Gang Gang Dance,
Yaz,
Bauhaus,
Curtis Mayfield,
Lou Christie,
Slick Rick,
Scion,
Eli Mardock,
Yellowson,
Donny Hathaway,
Notorious Big And Bone Thugs,
E-Dancer,
PIL,
Scan 7,
Hashim,
Dr. Dre and Snoop Doggy Dog,
Spoonie Gee,
Todd Rundgren,
Liaisons Dangereuses,
Leonard Cohen,
Sunsets and Hearts,
This Heat,
Altered Images,
Television Personalities,
The Mighty Diamonds,
Jerry Gold Smith,
The Cramps,
Half Japanese,
Scratch Acid,
kango's stein massive,
Rotary Connection,
The Victims,
Thee Headcoats,
Janne Schatter,
Avey Tare's Slasher Flicks,
Fear,
Boz Scaggs,
The Cosmic Jokers,
Rahsaan Roland Kirk,
Crash Course in Science,
Arab on Radar,
Ituana,
Bronski Beat, Bronski Beat, Bronski Beat, Bronski Beat.
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.