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 United Kingdom and from Houston.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1978.
I'm losing my edge.
To all the kids in Johannesburg and Paris.
I'm losing my edge to the art-school Madrid 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 808 sounds with much patience.
I was there when Michael McDonald 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 Kenny Larkin to the funk kids.
I played it at the Astoria.
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 Drexciya. All the underground hits.
All Jeru the Damaja tracks. I heard you have a vinyl of every Erasure 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 '70s cut and another box set from the '90s.
I hear you're buying a sitar and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Andrew Ashong & Theo Parrish record.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Terry Callier,
The Music Machine,
the Slits,
The Birthday Party,
Vainqueur,
Ten City,
Slick Rick,
Pulsallama,
Soft Machine,
Minor Threat,
The Invisible,
The Last Poets,
Radiopuhelimet,
Sarah Menescal,
Maleditus Sound,
the Bar-Kays,
Mission of Burma,
Nik Kershaw,
Rites of Spring,
Ultimate Spinach,
Franke,
The Five Americans,
Sun City Girls,
Scratch Acid,
John Foxx,
Bizarre Inc.,
Hardrive,
Kango’s Stein Massive,
Kerrie Biddell,
Bobby Hutcherson,
The Busters,
The Blues Magoos,
The Gap Band,
Khruangbin,
Rod Modell,
10cc,
The Men They Couldn't Hang,
The Durutti Column,
Ultra Naté,
Stereo Dub,
Isaac Hayes,
Black Flag,
Robert Wyatt,
Kerri Chandler,
Spandau Ballet,
Metal Thangz,
Pete Rock & C.L. Smooth,
Agitation Free,
The Sound,
Con Funk Shun,
Duran Duran,
Ohio Players,
Pussy Galore,
Barrington Levy,
The Buckinghams,
Amon Düül II,
Jimmy McGriff,
R.M.O.,
Eli Mardock,
Dorothy Ashby,
Spoonie Gee,
Avey Tare & Kría Brekkan,
The Modern Lovers,
The Tremeloes, The Tremeloes, The Tremeloes, The Tremeloes.
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.