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 Austria and from Hong Kong.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Lyon and Jakarta.
I'm losing my edge to the art-school Seoul 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 marimba sounds with much patience.
I was there when Captain Beefheart 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 Tremeloes to the rock 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 Gabor Szabo. All the underground hits.
All B.T. Express tracks. I heard you have a vinyl of every The Cramps 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 '80s cut and another box set from the '90s.
I hear you're buying a snare and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Matthew Halsall record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Minutemen,
The Slits,
The Fire Engines,
Depeche Mode,
Make Up,
The Saints,
The United States of America,
Maleditus Sound,
The Sound,
Sun Ra,
Sun Ra Arkestra,
Rod Modell,
Lee Hazlewood,
Infiniti,
EPMD,
Stockholm Monsters,
Lou Christie,
Yusef Lateef,
Grandmaster Flash and the Furious Five,
D'Angelo,
Alison Limerick,
Glambeats Corp.,
Motorama,
Wire,
Bobby Womack,
A Certain Ratio,
Von Mondo,
The Shadows of Knight,
Albert Ayler,
Smog,
Letta Mbulu,
Derrick May,
The Sonics,
China Crisis,
Bobby Sherman,
Ossler,
Oneida,
Aswad,
Gregory Isaacs,
Gang Starr,
Rosa Yemen,
the Soft Cell,
Television,
OOIOO,
Mad Mike,
Matthew Bourne,
Lou Reed,
The Stooges,
Negative Approach,
AZ,
June of 44,
Moss Icon,
Echospace,
Cybotron,
Fad Gadget,
Sly & The Family Stone,
Bobby Hutcherson,
Brick,
The Leaves,
Thee Headcoats,
Selector Dub Narcotic,
Lakeside,
The Slackers, The Slackers, The Slackers, The Slackers.
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.