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 Papua New Guinea and from Delhi.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Lyon and Taipei.
I'm losing my edge to the art-school Paris 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 1973 at the first Television practice in a loft in New York.
I was working on the marimba 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 Carl Craig to the electroclash kids.
I played it at Cafe Wha.
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 Franke. All the underground hits.
All Kango’s Stein Massive tracks. I heard you have a vinyl of every Sparks 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 '50s cut and another box set from the '70s.
I hear you're buying a snare and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Trumans Water record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Symarip,
Boogie Down Productions,
Ten City,
Howard Jones,
Soft Machine,
The Slits,
Japan,
Joyce Sims,
Röyhkä ja Rättö ja Lehtisalo,
Man Eating Sloth,
Neu!,
Gary Puckett & The Union Gap,
Audionom,
Ronnie Foster,
Sight & Sound,
Stetsasonic,
Peter and Kerry,
Tomorrow,
Slave,
Los Fastidios,
Robert Hood,
Underground Resistance,
Khruangbin,
Chrome,
Delon & Dalcan,
Thompson Twins,
Jerry Gold Smith,
The Men They Couldn't Hang,
Bush Tetras,
Black Flag,
Selector Dub Narcotic,
Todd Terry,
Arcadia,
Aloha Tigers,
Lou Reed & Metallica,
The Fortunes,
Fatback Band,
The Jesus and Mary Chain,
Sly & The Family Stone,
Shuggie Otis,
De La Soul & Jungle Brothers,
Eve St. Jones,
Mission of Burma,
Reuben Wilson,
The Litter,
Nick Cave & The Bad Seeds,
Parry Music,
Deadbeat,
The J.B.'s,
AZ,
Yusef Lateef,
Iggy Pop,
June of 44,
Stereo Dub,
Dorothy Ashby,
Qualms,
Morten Harket,
Sixth Finger,
Sparks,
Ajijia Myrayebe,
MC5, MC5, MC5, MC5.
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.