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 Japan and from Philadelphia.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Houston and Columbus.
I'm losing my edge to the art-school Mumbai 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 at the first Suicide practice in a loft in New York.
I was working on the chamberlin sounds with much patience.
I was there when Nile Rodgers 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 The Index to the electroclash kids.
I played it at the 40 Watt.
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 Moody Blues. All the underground hits.
All Hashim tracks. I heard you have a vinyl of every Barclay James Harvest record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a spring reverb and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a New Age Steppers record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Monochrome Set,
Sixth Finger,
Wasted Youth,
Bush Tetras,
Sexual Harrassment,
JFA,
Pylon,
Ossler,
PIL,
Barclay James Harvest,
Bob Dylan,
Joe Smooth,
Icehouse,
Pole,
Louis and Bebe Barron,
Lungfish,
R.M.O.,
Grey Daturas,
Pagans,
Aural Exciters,
Royal Trux,
Von Mondo,
Smog,
Gil Scott-Heron and Jamie xx,
John Lydon,
Excepter,
The Remains,
Minutemen,
Jimmy McGriff,
Scratch Acid,
Neil Young & Crazy Horse,
Unwound,
Pharaoh Sanders and the Fire Engines,
Toni Rubio,
Eddi Front,
Pantaleimon,
Marcia Griffiths,
Jesper Dahlback,
Tears for Fears,
Junior Murvin,
Soft Machine,
New York Dolls,
Subhumans,
Deakin,
Mr. Review,
Gian Franco Pienzio,
The Human League,
Art Ensemble Of Chicago,
Country Teasers,
Mark Hollis,
Amon Düül II,
Dennis Brown,
Vainqueur,
Minnie Riperton,
Electric Prunes,
The Cowsills,
Sound Behaviour,
Minor Threat,
Motorama,
Skarface,
Groovy Waters,
Maurizio,
Lafayette Afro Rock Band, Lafayette Afro Rock Band, Lafayette Afro Rock Band, Lafayette Afro Rock Band.
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.