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 Bhutan and from Philadelphia.
But I was there.
I was there in 1980.
I was there at the first Cybotron 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 1961 to 1974.
I'm losing my edge.
To all the kids in Johannesburg and Hong Kong.
I'm losing my edge to the art-school Copenhagen 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 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 Masters at Work to the punk kids.
I played it at the Crocodile.
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 Kayak. All the underground hits.
All Simply Red tracks. I heard you have a vinyl of every Brand Nubian record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a theremin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Wolf Eyes record.
I hear that you and your band have sold your mellotron and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Peter & Gordon,
The Fall,
Deakin,
John Coltrane,
Girls At Our Best!,
The Kinks,
Marcia Griffiths,
Chris Corsano,
Kool Moe Dee,
Cal Tjader,
Mr. Review,
Bob Dylan,
Marvin Gaye,
Drexciya,
48th St. Collective,
Lou Reed & Metallica,
Soft Machine,
Kool G Rap & DJ Polo,
Barbara Tucker,
Mandrill,
The Dead C,
Manfred Mann's Earth Band,
Andrew Ashong & Theo Parrish,
Funky Four + One,
Swell Maps,
Deutsch Amerikanische Freundschaft,
Susan Cadogan,
The West Coast Pop Art Experimental Band,
Roy Ayers,
The Shadows of Knight,
The Young Rascals,
Darondo,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Litter,
The Raincoats,
cv313,
Parry Music,
Flash Fearless,
Jandek,
Liaisons Dangereuses,
Basic Channel,
Easy Going,
Jeff Lynne,
Jawbox,
Public Enemy,
Icehouse,
Popol Vuh,
Terrestrial Tones,
John Foxx,
The Human League,
A Certain Ratio,
Saccharine Trust,
Symarip,
Das Ding,
Bobby Sherman,
Juan Atkins,
The Gun Club,
Jacques Brel,
Larry & the Blue Notes,
Pantaleimon,
Slave, Slave, Slave, Slave.
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.