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 Kiribati and from New York.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1974.
I'm losing my edge.
To all the kids in Woodstock and Madrid.
I'm losing my edge to the art-school Bremen 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 güiro sounds with much patience.
I was there when Robert Palmer 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 Sugar Minott to the dance kids.
I played it at the Troubador.
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 Procol Harum. All the underground hits.
All Fifty Foot Hose tracks. I heard you have a vinyl of every The Monochrome Set record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a guitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Siouxsie and the Banshees record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Matthew Bourne,
The Mummies,
The Selecter,
Warsaw,
Stockholm Monsters,
Eric Copeland,
Intrusion,
Nirvana,
The Peanut Butter Conspiracy,
Los Fastidios,
Drive Like Jehu,
Albert Ayler,
In Retrospect,
De La Soul & Jungle Brothers,
June of 44,
Laurel Aitken,
Kaleidoscope,
The Shadows of Knight,
Crispian St. Peters,
Ralphi Rosario,
Louis and Bebe Barron,
Royal Trux,
Fort Wilson Riot,
The Offenders,
Flipper,
David Axelrod,
Marcia Griffiths,
This Heat,
Bronski Beat,
Art Ensemble Of Chicago,
The Skatalites,
Rites of Spring,
Scion,
Blossom Toes,
Massinfluence,
Lalo Schifrin,
Rahsaan Roland Kirk,
Byron Stingily,
World's Most,
Gregory Isaacs,
Aaron Thompson,
The Stooges,
Barclay James Harvest,
Barry Ungar,
D'Angelo,
Warren Ellis,
Surgeon,
Negative Approach,
The Music Machine,
Gian Franco Pienzio,
Roxette,
Maleditus Sound,
Pierre Henry,
Cymande,
Roy Ayers,
Vaughan Mason & Crew,
Main Source,
Girls At Our Best!,
Wally Richardson,
The Fall,
Supertramp,
The Barracudas, The Barracudas, The Barracudas, The Barracudas.
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.