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 Switzerland and from Sao Paulo.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Manchester and Hong Kong.
I'm losing my edge to the art-school Edmonton 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 Silicon Teens to the jazz kids.
I played it at the Hacienda.
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 The Remains. All the underground hits.
All Gregory Isaacs tracks. I heard you have a vinyl of every X-Ray Spex 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 '50s cut and another box set from the '70s.
I hear you're buying a synthesizer and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Bill Near record.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Maurizio,
Technova,
Magazine,
David Axelrod,
the Bar-Kays,
Strawberry Alarm Clock,
Thee Headcoats,
The Detroit Cobras,
Soft Cell,
Crispy Ambulance,
Jeru the Damaja,
Fluxion,
Colin Newman,
The Moleskins,
The Mighty Diamonds,
Cluster,
Desert Stars,
Arcadia,
Ralphi Rosario,
Saccharine Trust,
The Stooges,
Livin' Joy,
Yellowson,
Television Personalities,
Nick Cave & The Bad Seeds,
Laurel Aitken,
Nirvana,
Reagan Youth,
The Fortunes,
DJ Sneak,
Swell Maps,
Cabaret Voltaire,
Girls At Our Best!,
Rites of Spring,
The Saints,
Joe Smooth,
Flipper,
kango's stein massive,
F. McDonald,
China Crisis,
Byron Stingily,
Kerrie Biddell,
Kerri Chandler,
Eric Dolphy,
Second Layer,
Erasure,
The Young Rascals,
These Immortal Souls,
Idris Muhammad,
Ponytail,
Ice-T,
Donny Hathaway,
The Remains,
Roy Ayers,
Bill Wells,
Lou Christie,
Rod Modell,
The Cramps,
Gil Scott-Heron and Jamie xx,
Sound Behaviour,
The Jesus and Mary Chain,
Stereo Dub, Stereo Dub, Stereo Dub, Stereo Dub.
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.