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 Dominica and from Manila.
But I was there.
I was there in 1967.
I was there at the first Rodriguez 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 1969 to 1977.
I'm losing my edge.
To all the kids in Jakarta and Madrid.
I'm losing my edge to the art-school Sao Paulo 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 theremin 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 Fatback Band to the disco 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 Bootsy Collins. All the underground hits.
All Stiv Bators tracks. I heard you have a vinyl of every Neil Young & Crazy Horse 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 '70s cut and another box set from the '90s.
I hear you're buying an organ and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Subhumans record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Altered Images,
John Foxx,
Tim Buckley,
Arab on Radar,
Bauhaus,
Procol Harum,
Spandau Ballet,
Public Enemy,
The Trojans,
OOIOO,
B.T. Express,
Pharoah Sanders,
Maleditus Sound,
Gabor Szabo,
the Bar-Kays,
Monks,
Smog,
The Modern Lovers,
Excepter,
Janne Schatter,
Peter and Kerry,
Deutsch Amerikanische Freundschaft,
Severed Heads,
Parry Music,
Girls At Our Best!,
Toni Rubio,
De La Soul & Jungle Brothers,
The Shadows of Knight,
Moss Icon,
Derrick Morgan,
The Dead C,
The Young Rascals,
Aaron Thompson,
Q65,
The Fugs,
Marvin Gaye,
Graham Central Station,
Dark Day,
Wally Richardson,
Susan Cadogan,
Deepchord,
The Gories,
Arthur Verocai,
It's A Beautiful Day,
Fugazi,
Kauko Röyhkä ja Narttu,
Arcadia,
Trumans Water,
Bizarre Inc.,
Rapeman,
Magma,
June Days,
MC5,
Clear Light,
Gong,
Easy Going,
MDC,
Intrusion,
Cal Tjader,
Ultramagnetic MC's,
The Wake,
Bootsy Collins,
The Evens, The Evens, The Evens, The Evens.
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.