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 Slovakia and from Stockholm.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Halifax and Delhi.
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 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 Donald Fagen 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 Matthew Bourne to the rap kids.
I played it at the Crocodile.
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 Spoonie Gee. All the underground hits.
All The Dirtbombs tracks. I heard you have a vinyl of every Mo-Dettes record on German import.
I heard that you have a white label of every seminal electroclash 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 snare and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Country Joe & The Fish record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cluster,
Grandmaster Flash and the Furious Five,
Electric Prunes,
the Human League,
Major Organ And The Adding Machine,
Hardrive,
Godley & Creme,
Flash Fearless,
Pylon,
the Association,
Mo-Dettes,
Henry Cow,
Intrusion,
It's A Beautiful Day,
Gil Scott-Heron & Brian Jackson,
Negative Approach,
Bang on a Can All-Stars,
Roxette,
Lafayette Afro Rock Band,
Bad Manners,
Sarah Menescal,
The Leaves,
Fat Boys,
Joensuu 1685,
Dead Boys,
Thompson Twins,
Bill Wells,
Sister Nancy,
Interpol,
Ultra Naté,
Stockholm Monsters,
The Skatalites,
Motorama,
Connie Case,
New Order,
The J.B.'s,
Bush Tetras,
The Invisible,
Sound Behaviour,
JFA,
Barbara Tucker,
Neu!,
Fort Wilson Riot,
Boredoms,
Delon & Dalcan,
Gary Puckett & The Union Gap,
Harry Pussy,
The Litter,
Richard Hell and the Voidoids,
Bill Near,
The Evens,
The Martian,
Unwound,
Sixth Finger,
Sugar Minott,
Excepter,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Gap Band,
Teenage Jesus and the Jerks,
The Tremeloes,
The Busters,
Mark Hollis,
Cal Tjader,
Piero Umiliani,
Derrick Morgan, Derrick Morgan, Derrick Morgan, Derrick Morgan.
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.