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 Tanzania and from Madrid.
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 1965 to 1975.
I'm losing my edge.
To all the kids in Lille and Mumbai.
I'm losing my edge to the art-school Copenhagen 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 guitar sounds with much patience.
I was there when Nile Rodgers 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 Blossom Toes to the electroclash 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 Carl Craig. All the underground hits.
All Kango’s Stein Massive tracks. I heard you have a vinyl of every Au Pairs 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 '50s cut and another box set from the '80s.
I hear you're buying a güiro and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Pussy Galore record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Dead C,
The Cosmic Jokers,
Nirvana,
The Names,
Spandau Ballet,
The Saints,
Kool Moe Dee,
Wire,
Roy Ayers Ubiquity,
Danielle Patucci,
N.O.R.E. Featuring Pharrell,
Terrestrial Tones,
The Fire Engines,
Agent Orange,
Amon Düül,
K-Klass,
Ponytail,
Slave,
Traffic Nightmare,
Con Funk Shun,
the Bar-Kays,
the Germs,
The Evens,
Roger Hodgson,
Althea and Donna,
Jawbox,
Colin Newman,
Archie Shepp,
Yellowson,
Barbara Tucker,
Be Bop Deluxe,
Negative Approach,
Matthew Halsall,
Arab on Radar,
The Modern Lovers,
Notorious BIG live in Amsterdam,
The Gap Band,
Lakeside,
Model 500,
Gang Green,
ABC,
Metal Thangz,
The Happenings,
ABBA,
Tears for Fears,
Sandy B,
Scott Walker,
Tomorrow,
Gang of Four,
Essential Logic,
The Move,
Crooked Eye,
James White and The Blacks,
Mark Hollis,
Eli Mardock,
Selector Dub Narcotic,
Juan Atkins,
Delta 5,
Porter Ricks,
New Age Steppers,
Röyhkä ja Rättö ja Lehtisalo,
David Axelrod,
Easy Going, Easy Going, Easy Going, Easy Going.
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.