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 Lithuania and from Toronto.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Tehran and Mexico City.
I'm losing my edge to the art-school Bologna 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 Chic practice in a loft in New York.
I was working on the chamberlin 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 Erasure to the grime kids.
I played it at Trash.
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 Kas Product. All the underground hits.
All Eric Dolphy tracks. I heard you have a vinyl of every Gary Puckett & The Union Gap 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 '80s.
I hear you're buying a linndrum and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Grandmaster Flash and the Furious Five record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Delta 5,
Albert Ayler,
Dual Sessions,
Gang Starr,
Sunsets and Hearts,
Ultravox,
The Sisters of Mercy,
8 Eyed Spy,
Sarah Menescal,
Mark Hollis,
Con Funk Shun,
Sound Behaviour,
The Neon Judgement,
Danielle Patucci,
Nirvana,
The Index,
Beasts of Bourbon,
48th St. Collective,
Pussy Galore,
The Pretty Things,
Pole,
Amon Düül II,
Rahsaan Roland Kirk,
Robert Hood,
Grauzone,
Juan Atkins,
Shoche,
Jerry Gold Smith,
Kango’s Stein Massive,
Pierre Henry,
Outsiders,
Vladislav Delay,
Blossom Toes,
The Invisible,
The New Christs,
Unrelated Segments,
Girls At Our Best!,
Dave Gahan,
Nik Kershaw,
Moebius,
Thompson Twins,
B.T. Express,
Letta Mbulu,
Ituana,
In Retrospect,
Bobby Hutcherson,
Ronnie Foster,
Mary Jane Girls,
FM Einheit,
Rites of Spring,
Sonny Sharrock,
The Motions,
Freddie Wadling,
The Fugs,
UT,
DJ Style,
DNA,
Deakin,
Alice Coltrane,
Bill Wells,
James White and The Blacks,
Parry Music,
Jandek, Jandek, Jandek, Jandek.
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.