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 Rwanda and from Salvador.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1979.
I'm losing my edge.
To all the kids in New York and Tokyo.
I'm losing my edge to the art-school Houston 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 güiro sounds with much patience.
I was there when Robert Palmer 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 Chocolate Watch Band to the funk kids.
I played it at the Roxy.
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 A Certain Ratio. All the underground hits.
All Gastr Del Sol 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 dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
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 The Remains record.
I hear that you and your band have sold your linndrum and bought a 808.
I hear that you and your band have sold your 808 and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Durutti Column,
The Motions,
The Seeds,
Jandek,
Echo & the Bunnymen,
Eric B and Rakim,
Main Source,
The Neon Judgement,
Kayak,
Matthew Halsall,
The Offenders,
Big Daddy Kane,
Lou Reed & John Cale,
Sly & The Family Stone,
DeepChord presents Echospace,
World's Most,
Swans,
Brick,
Reagan Youth,
Anthony Braxton,
Sight & Sound,
The Moleskins,
Piero Umiliani,
Jacob Miller,
Neu!,
Public Image Ltd.,
the Association,
Moebius,
Andrew Ashong & Theo Parrish,
Barclay James Harvest,
Stockholm Monsters,
Iggy Pop,
Bobbi Humphrey,
the Swans,
Marvin Gaye,
Tommy Roe,
Lalo Schifrin,
Angry Samoans,
Notorious Big And Bone Thugs,
Swell Maps,
Selector Dub Narcotic,
Masters at Work,
Grauzone,
Bootsy's Rubber Band,
John Foxx,
Jerry's Kids,
Parry Music,
Freddie Wadling,
Throbbing Gristle,
Orchestral Manoeuvres in the Dark,
Traffic Nightmare,
Lou Christie,
Monolake,
Gichy Dan,
Danielle Patucci,
Rhythim Is Rhythim,
The West Coast Pop Art Experimental Band,
Fat Boys,
Nirvana,
Amon Düül,
Quantec,
kango's stein massive,
Trumans Water, Trumans Water, Trumans Water, Trumans Water.
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.