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 Paraguay and from Stockholm.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Paris and Houston.
I'm losing my edge to the art-school Portland 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 arpeggiator sounds with much patience.
I was there when Nile Rodgers 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 Interpol to the disco 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 Half Japanese. All the underground hits.
All Public Enemy tracks. I heard you have a vinyl of every Big Daddy Kane record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a snare and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Tropical Tobacco record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Flipper,
The Velvet Underground,
Judy Mowatt,
Avey Tare's Slasher Flicks,
The Misunderstood,
Henry Cow,
Kerrie Biddell,
Richard Hell and the Voidoids,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Move,
A Certain Ratio,
E-Dancer,
David Axelrod,
Silicon Teens,
Buzzcocks,
Fluxion,
The United States of America,
Ituana,
Junior Murvin,
Excepter,
Popol Vuh,
Alton Ellis,
Young Marble Giants,
H. Thieme,
Unwound,
Avey Tare & Kría Brekkan,
Altered Images,
James White and The Blacks,
Justin Hinds & The Dominoes,
Kings Of Tomorrow,
EPMD,
X-Ray Spex,
Saccharine Trust,
Lonnie Liston Smith,
Eddi Front,
Pantaleimon,
Thinking Fellers Union Local 282,
Derrick Morgan,
Chris Corsano,
48th St. Collective,
Rhythim Is Rhythim,
Agent Orange,
Yellowson,
Lalo Schifrin,
Rhythm & Sound,
Reagan Youth,
Kerri Chandler,
Barclay James Harvest,
Yazoo,
Lee Hazlewood,
Sam Rivers,
DeepChord presents Echospace,
Ornette Coleman,
R.M.O.,
Scratch Acid,
Teenage Jesus and the Jerks,
Archie Shepp,
Inner City,
Zapp,
The Kinks,
David Bowie, David Bowie, David Bowie, David Bowie.
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.