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 Peru and from Manchester.
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 1975.
I'm losing my edge.
To all the kids in Mexico City and Bologna.
I'm losing my edge to the art-school Hong Kong 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 1984 at the first Arcadia practice in a loft in London.
I was working on the synthesizer sounds with much patience.
I was there when Lou Reed 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 Johnny Osbourne to the funk 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 James Chance & The Contortions. All the underground hits.
All Kauko Röyhkä ja Narttu tracks. I heard you have a vinyl of every Donald Byrd 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 '70s cut and another box set from the '70s.
I hear you're buying a chamberlin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Scratch Acid record.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Camberwell Now,
Dead Boys,
The Pretty Things,
Soul Sonic Force,
The Moleskins,
Bob Dylan,
The Barracudas,
Eric Copeland,
The Names,
Anthony Braxton,
Drive Like Jehu,
The Doors,
Whodini,
Glambeats Corp.,
Rhythm & Sound,
Main Source,
Mission of Burma,
Notorious BIG live in Amsterdam,
Sixth Finger,
The Gladiators,
The Remains,
De La Soul & Jungle Brothers,
Vaughan Mason & Crew,
Juan Atkins,
The Fuzztones,
Cameo,
Gian Franco Pienzio,
Japan,
Sly & The Family Stone,
ABC,
Brothers Johnson,
N.O.R.E. Featuring Pharrell,
Bad Manners,
Yaz,
Sun Ra Arkestra,
Thinking Fellers Union Local 282,
Anakelly,
MC5,
Pharaoh Sanders and the Fire Engines,
Country Teasers,
Zapp,
Fifty Foot Hose,
The Saints,
The Chocolate Watch Band,
Surgeon,
Pantytec,
Boz Scaggs,
Jawbox,
The Motions,
Orchestral Manoeuvres in the Dark,
Glenn Branca,
Marc Almond,
Lonnie Liston Smith,
E-Dancer,
Reagan Youth,
Andrew Hill,
Avey Tare's Slasher Flicks,
Man Eating Sloth,
DNA,
Oppenheimer Analysis,
Flipper,
The Music Machine,
The Golliwogs,
In Retrospect, In Retrospect, In Retrospect, In Retrospect.
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.