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 Australia and from Johannesburg.
But I was there.
I was there in 1976.
I was there at the first Chic 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 1960 to 1978.
I'm losing my edge.
To all the kids in Stockholm and Bologna.
I'm losing my edge to the art-school Manila 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 snare 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 Anakelly to the jazz 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 Hasil Adkins. All the underground hits.
All The Smoke tracks. I heard you have a vinyl of every Mo-Dettes record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an organ and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Man Parrish record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Loose Ends,
the Fania All-Stars,
The Grass Roots,
Traffic Nightmare,
Al Stewart,
Cymande,
Fifty Foot Hose,
Vaughan Mason & Crew,
Theoretical Girls,
New York Dolls,
Ronnie Foster,
Lou Reed,
This Heat,
Pole,
Angels of Light & Akron/Family,
Donny Hathaway,
Intrusion,
The Star Department,
Mad Mike,
Matthew Bourne,
John Holt,
Larry & the Blue Notes,
Crime,
Khruangbin,
Vladislav Delay,
The Doors,
Tubeway Army,
New Order,
Lower 48,
The Neon Judgement,
Justin Hinds & The Dominoes,
Pete Rock & C.L. Smooth,
the Germs,
Organ,
Buzzcocks,
Blake Baxter,
The Music Machine,
Drexciya,
Half Japanese,
Sixth Finger,
Bang On A Can,
Brass Construction,
Bizarre Inc.,
Faust,
Erasure,
Au Pairs,
Flash Fearless,
The Happenings,
Delon & Dalcan,
The Birthday Party,
Eden Ahbez,
Mandrill,
Eddi Front,
Be Bop Deluxe,
The Zeros,
Young Marble Giants,
The Associates,
Lebanon Hanover,
Electric Prunes,
Outsiders,
The Real Kids,
Icehouse,
Nas, Nas, Nas, Nas.
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.