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 East Timor and from Mexico City.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Seoul and Manila.
I'm losing my edge to the art-school Columbus 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 808 sounds with much patience.
I was there when Lou Reed 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 Blackbyrds to the punk kids.
I played it at the Hacienda.
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 L. Decosne. All the underground hits.
All Sonny Sharrock tracks. I heard you have a vinyl of every Sexual Harrassment 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 '50s cut and another box set from the '90s.
I hear you're buying a marimba and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Modern Lovers record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Divine Comedy,
Tom Boy,
kango's stein massive,
Faust,
Soft Machine,
The Moleskins,
The Offenders,
Nik Kershaw,
Half Japanese,
Terry Callier,
Second Layer,
Masters at Work,
Anthony Braxton,
Parry Music,
Vaughan Mason & Crew,
Strawberry Alarm Clock,
Con Funk Shun,
Pete Rock & C.L. Smooth,
June of 44,
Hardrive,
Japan,
Camouflage,
The J.B.'s,
Sex Pistols,
Massinfluence,
The Fall,
The Angels of Light,
Marmalade,
Funky Four + One,
Eden Ahbez,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
The Sonics,
Manfred Mann's Earth Band,
Pulsallama,
Outsiders,
Bobby Hutcherson,
Ultimate Spinach,
Ohio Players,
Khruangbin,
Gang Green,
Magazine,
Aswad,
Joyce Sims,
Dave Gahan,
8 Eyed Spy,
The Dead C,
the Fania All-Stars,
Sonny Sharrock,
Godley & Creme,
Mark Hollis,
The Associates,
Scratch Acid,
Camron Feat. Memphis Bleek And Beenie Seigel,
Röyhkä ja Rättö ja Lehtisalo,
Simply Red,
10cc,
Swell Maps,
Kango’s Stein Massive,
Joe Finger,
Grey Daturas, Grey Daturas, Grey Daturas, Grey Daturas.
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.