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 Poland and from Cairo.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 Columbus and Manila.
I'm losing my edge to the art-school Stockholm 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 Lafayette Afro Rock Band to the dance kids.
I played it at CBGB's.
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 Urselle. All the underground hits.
All The Offenders tracks. I heard you have a vinyl of every It's A Beautiful Day record on German import.
I heard that you have a white label of every seminal techno 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 synthesizer and a chamberlin 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 synthesizer and bought a güiro.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Jesus and Mary Chain,
the Germs,
Fifty Foot Hose,
Anakelly,
Eurythmics,
The Moody Blues,
Ohio Players,
Johnny Osbourne,
T.S.O.L.,
Minnie Riperton,
Theoretical Girls,
The Velvet Underground,
The Red Krayola,
Radio Birdman,
Magazine,
Scion,
Hasil Adkins,
Grauzone,
Tommy Roe,
Television,
Girls At Our Best!,
The Electric Prunes,
Blancmange,
Sugar Minott,
Easy Going,
Fat Boys,
Notorious Big And Bone Thugs,
Maleditus Sound,
Cal Tjader,
John Cale,
Glenn Branca,
The Busters,
Colin Newman,
Chrome,
Gil Scott Heron,
Angry Samoans,
Smog,
Suburban Knight,
Todd Terry,
MDC,
Sparks,
Glambeats Corp.,
David Axelrod,
Todd Rundgren,
Hot Snakes,
The Smiths,
Drexciya,
Urselle,
Brass Construction,
Fad Gadget,
Kenny Larkin,
Arab on Radar,
Nation of Ulysses,
Gil Scott-Heron and Jamie xx,
Jacob Miller,
Lyres,
Marvin Gaye,
The Fall,
The Beau Brummels,
Michelle Simonal,
Bluetip,
Nico,
Ultra Naté, Ultra Naté, Ultra Naté, Ultra Naté.
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.