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 Ivory Coast and from Philadelphia.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Paris and Bologna.
I'm losing my edge to the art-school Shanghai 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 rhodes sounds with much patience.
I was there when Tom Verlaine 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 Amon Düül to the rap 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 Althea and Donna. All the underground hits.
All Faraquet tracks. I heard you have a vinyl of every Deutsch Amerikanische Freundschaft record on German import.
I heard that you have a white label of every seminal funk 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 chamberlin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a AZ record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Selector Dub Narcotic,
Gil Scott Heron,
Das Ding,
B.T. Express,
Bobbi Humphrey,
Pete Rock & C.L. Smooth,
Bobby Hutcherson,
Pere Ubu,
Nik Kershaw,
U.S. Maple,
Main Source,
Gil Scott-Heron and Jamie xx,
Kayak,
Deakin,
A Flock of Seagulls,
Mr. Review,
Country Teasers,
the Association,
Sugar Minott,
8 Eyed Spy,
Yusef Lateef,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Moleskins,
Amon Düül,
Albert Ayler,
Matthew Bourne,
R.M.O.,
Kings Of Tomorrow,
Tears for Fears,
Jandek,
Vladislav Delay,
The Cramps,
The Gories,
The Beau Brummels,
Erykah Badu,
Darondo,
Black Flag,
The Cure,
Archie Shepp,
Marmalade,
Bill Near,
Barrington Levy,
The Smiths,
Thompson Twins,
the Soft Cell,
The Skatalites,
Vainqueur,
Spoonie Gee,
Crooked Eye,
These Immortal Souls,
Siglo XX,
The Red Krayola,
Oppenheimer Analysis,
Gichy Dan,
Rufus Thomas,
Sixth Finger,
In Retrospect,
Gong,
Moby Grape, Moby Grape, Moby Grape, Moby Grape.
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.