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 Uzbekistan and from Philadelphia.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Copenhagen and Cairo.
I'm losing my edge to the art-school Glasgow 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 harpsichord 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 Standells to the electroclash 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 Connie Case. All the underground hits.
All Monks tracks. I heard you have a vinyl of every Can record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a De La Soul & Jungle Brothers record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin 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?
Piero Umiliani,
Agent Orange,
Oppenheimer Analysis,
Maleditus Sound,
Todd Terry,
Main Source,
Wolf Eyes,
Motorama,
Pulsallama,
Gang of Four,
Joy Division,
X-101,
The Tremeloes,
Nick Cave & The Bad Seeds,
Visage,
Section 25,
Fifty Foot Hose,
Patti Smith,
Harmonia,
Rod Modell,
Pharaoh Sanders and the Fire Engines,
Lungfish,
The Fuzztones,
Todd Rundgren,
Iggy Pop,
Bobbi Humphrey,
Au Pairs,
The United States of America,
Ultra Naté,
Sandy B,
Colin Newman,
Slave,
Rhythm & Sound,
Buzzcocks,
Darondo,
Minnie Riperton,
Richard Hell and the Voidoids,
E-Dancer,
X-Ray Spex,
The Monks,
Neil Young,
Black Sheep,
Andrew Hill,
Cheater Slicks,
Lizzy Mercier Descloux,
The Last Poets,
Cluster,
Yazoo,
Archie Shepp,
Black Bananas,
Model 500,
Scratch Acid,
Cymande,
Parry Music,
U.S. Maple,
The Star Department,
Moebius,
Y Pants,
The Index,
The Kinks,
James White and The Blacks,
Bizarre Inc., Bizarre Inc., Bizarre Inc., Bizarre Inc..
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.