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 United Kingdom and from London.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1976.
I'm losing my edge.
To all the kids in Mexico City and Tokyo.
I'm losing my edge to the art-school Salvador 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 linndrum 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 Bobby Sherman to the jazz kids.
I played it at the Troubador.
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 Das Ding. All the underground hits.
All The Cowsills tracks. I heard you have a vinyl of every Jeru the Damaja record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a spring reverb and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Stetsasonic record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Idris Muhammad,
Saccharine Trust,
Tres Demented,
One Last Wish,
Gang Gang Dance,
The Knickerbockers,
Kerrie Biddell,
ABBA,
Dark Day,
The Gories,
Oneida,
Ultimate Spinach,
The Angels of Light,
The Litter,
Bootsy's Rubber Band,
Marvin Gaye,
X-102,
The Peanut Butter Conspiracy,
Depeche Mode,
CMW,
Kenny Larkin,
Howard Jones,
H. Thieme,
Oblivians,
10cc,
Eyeless In Gaza,
Judy Mowatt,
Silicon Teens,
The Happenings,
Ponytail,
Brass Construction,
Moss Icon,
The Mojo Men,
Bizarre Inc.,
Crispy Ambulance,
Byron Stingily,
Rosa Yemen,
Brand Nubian,
Joyce Sims,
Lonnie Liston Smith,
Goldenarms,
The Remains,
The Velvet Underground,
Marc Almond,
Barrington Levy,
Scan 7,
The Divine Comedy,
R.M.O.,
It's A Beautiful Day,
Barbara Tucker,
Terrestrial Tones,
Donny Hathaway,
The Fortunes,
Slick Rick,
Bobby Hutcherson,
Tom Boy,
Jeff Mills,
The Dead C,
Matthew Bourne,
Deakin,
Jerry Gold Smith, Jerry Gold Smith, Jerry Gold Smith, Jerry Gold Smith.
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.