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 Solomon Islands and from Glasgow.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1971.
I'm losing my edge.
To all the kids in Lagos and Bremen.
I'm losing my edge to the art-school Paris 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the güiro sounds with much patience.
I was there when Lou Reed 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 Brass Construction to the electroclash kids.
I played it at Trash.
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 Ludus. All the underground hits.
All Slave tracks. I heard you have a vinyl of every Neil Young 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 '70s.
I hear you're buying a güiro and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Golliwogs record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Slave,
Hashim,
Manfred Mann's Earth Band,
Terrestrial Tones,
Gil Scott-Heron & Brian Jackson,
Chrome,
The Electric Prunes,
The Leaves,
Johnny Clarke,
June Days,
Ultra Naté,
The Searchers,
Von Mondo,
Marmalade,
Jeru the Damaja,
Thee Headcoats,
Model 500,
Black Bananas,
Barrington Levy,
Joyce Sims,
Rotary Connection,
Super Lover Cee & Casanova Rud,
X-102,
Yusef Lateef,
Eden Ahbez,
Spoonie Gee,
Kayak,
Captain Beefheart & His Magic Band,
Public Image Ltd.,
Arthur Verocai,
Skriet,
The Flesh Eaters,
Brass Construction,
Deepchord,
Accadde A,
Gang Gang Dance,
Infiniti,
Gil Scott Heron,
Louis and Bebe Barron,
Tom Boy,
The New Christs,
New York Dolls,
The Moody Blues,
K-Klass,
the Fania All-Stars,
Jacques Brel,
Kings Of Tomorrow,
Slick Rick,
Masters at Work,
Drive Like Jehu,
Hoover,
AZ,
Tomorrow,
Symarip,
Kerri Chandler,
Yaz,
Stockholm Monsters,
KRS-One,
Aural Exciters,
Warsaw, Warsaw, Warsaw, Warsaw.
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.