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 Iran and from Taipei.
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 1964 to 1978.
I'm losing my edge.
To all the kids in Houston and Mexico City.
I'm losing my edge to the art-school Philadelphia 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 clarinet sounds with much patience.
I was there when David Bowie 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 PIL to the electroclash 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 Aural Exciters. All the underground hits.
All Max Romeo tracks. I heard you have a vinyl of every Sound Behaviour record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a rhodes and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a the Bar-Kays 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?
FM Einheit,
Q and Not U,
Harpers Bizarre,
These Immortal Souls,
Mr. Review,
Sugar Minott,
Bill Near,
Dawn Penn,
Fifty Foot Hose,
Faraquet,
Manfred Mann's Earth Band,
Das Ding,
The Electric Prunes,
Rotary Connection,
June Days,
the Bar-Kays,
Surgeon,
Aswad,
The Sisters of Mercy,
The Fuzztones,
Funkadelic,
Rahsaan Roland Kirk,
Colin Newman,
Sad Lovers and Giants,
Rhythim Is Rhythim,
The Victims,
X-Ray Spex,
Technova,
Justin Hinds & The Dominoes,
Agent Orange,
Electric Light Orchestra,
Television Personalities,
The Moleskins,
L. Decosne,
Fear,
Marcia Griffiths,
Pantytec,
The Walker Brothers,
Rakim,
Bobby Byrd,
This Heat,
Pharoah Sanders,
Can,
The Wake,
John Holt,
Andrew Hill,
The Smoke,
Scion,
Zero Boys,
Kurtis Blow,
Letta Mbulu,
Bizarre Inc.,
Lee Hazlewood,
Ohio Players,
Saccharine Trust,
Goldenarms,
Aaron Thompson,
Funky Four + One,
Lyres,
David Axelrod, David Axelrod, David Axelrod, David Axelrod.
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.