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 the UAE and from Manila.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Madrid and Glasgow.
I'm losing my edge to the art-school Beijing 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 linndrum 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 Terrestrial Tones to the jazz kids.
I played it at the Roxy.
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 Nils Olav. All the underground hits.
All DJ Style tracks. I heard you have a vinyl of every Avey Tare record on German import.
I heard that you have a white label of every seminal rock 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 spring reverb and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Main Source record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bobby Womack,
Country Teasers,
Hashim,
Heavy D & The Boyz,
Eric B and Rakim,
Juan Atkins,
Jerry's Kids,
Sonic Youth,
New Age Steppers,
Bobby Sherman,
Camron Feat. Memphis Bleek And Beenie Seigel,
Yellowson,
Susan Cadogan,
Strawberry Alarm Clock,
T. Rex,
Joyce Sims,
Cybotron,
Marcia Griffiths,
Minor Threat,
Basic Channel,
Oneida,
Bobby Hutcherson,
The Offenders,
The Electric Prunes,
U.S. Maple,
Hasil Adkins,
The Walker Brothers,
Blancmange,
Dawn Penn,
Kayak,
Main Source,
Jawbox,
Oppenheimer Analysis,
Q and Not U,
Major Organ And The Adding Machine,
Eric Dolphy,
Cal Tjader,
Danielle Patucci,
The Neon Judgement,
Masters at Work,
Thinking Fellers Union Local 282,
Nick Fraelich,
Parry Music,
The Standells,
Con Funk Shun,
Ken Boothe,
Ossler,
Derrick Morgan,
Jerry Gold Smith,
Lebanon Hanover,
Soulsonic Force,
James White and The Blacks,
Roy Ayers,
Alphaville,
Eli Mardock,
Black Bananas,
Eve St. Jones,
The Martian,
A Certain Ratio,
John Lydon,
Cameo, Cameo, Cameo, Cameo.
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.