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 the UAE and from Philadelphia.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 Johannesburg and Taipei.
I'm losing my edge to the art-school Woodstock 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 harpsichord sounds with much patience.
I was there when Holger Czukay 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 Siglo XX to the grime 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 The Cramps. All the underground hits.
All Man Parrish tracks. I heard you have a vinyl of every Brass Construction record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a harpsichord and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Grandmaster Flash record.
I hear that you and your band have sold your marimba and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Swans,
Massinfluence,
Andrew Hill,
Yellowson,
Little Man,
Be Bop Deluxe,
Quadrant,
The Smiths,
Eurythmics,
Roy Ayers Ubiquity,
China Crisis,
Oneida,
Albert Ayler,
John Holt,
Fugazi,
Danielle Patucci,
cv313,
The Searchers,
R.M.O.,
Sarah Menescal,
Wire,
Loose Ends,
One Last Wish,
Amon Düül II,
Johnny Osbourne,
Henry Cow,
H. Thieme,
Soft Machine,
Curtis Mayfield,
The Moleskins,
Avey Tare's Slasher Flicks,
James Chance & The Contortions,
Lower 48,
Crooked Eye,
Eric Copeland,
Erasure,
Joe Finger,
John Coltrane,
Dual Sessions,
The Associates,
Arab on Radar,
Dennis Brown,
Boredoms,
Robert Hood,
The Modern Lovers,
Terry Callier,
Big Daddy Kane,
JFA,
Gil Scott-Heron & Brian Jackson,
Duran Duran,
the Swans,
The Fall,
the Bar-Kays,
Harry Pussy,
Essential Logic,
The Wake,
Masters at Work,
Man Parrish,
Jawbox,
June Days,
Alphaville, Alphaville, Alphaville, Alphaville.
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.