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 Papua New Guinea and from Calgary.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1970.
I'm losing my edge.
To all the kids in Bologna and Winnipeg.
I'm losing my edge to the art-school Tehran 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 theremin 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 Lucky Dragons 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 Black Moon. All the underground hits.
All The New Christs tracks. I heard you have a vinyl of every Grauzone record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a sitar and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Liaisons Dangereuses,
PIL,
Dave Gahan,
The Saints,
Nils Olav,
Girls At Our Best!,
Todd Terry,
Idris Muhammad,
Roxette,
Accadde A,
Davy DMX,
Black Moon,
Bobby Hutcherson,
Drexciya,
Bill Wells,
Pantaleimon,
The Residents,
Roger Hodgson,
Terrestrial Tones,
Flash Fearless,
The Electric Prunes,
Clear Light,
Juan Atkins,
New Age Steppers,
The Gladiators,
Thompson Twins,
Marc Almond,
10cc,
Thee Headcoats,
Tim Buckley,
Sam Rivers,
Laurel Aitken,
Siglo XX,
Desert Stars,
Ponytail,
the Bar-Kays,
Eric Dolphy,
Barry Ungar,
Metal Thangz,
Strawberry Alarm Clock,
Todd Rundgren,
The West Coast Pop Art Experimental Band,
The Red Krayola,
Lalo Schifrin,
Rod Modell,
Jeff Lynne,
Gastr Del Sol,
Curtis Mayfield,
Ken Boothe,
Rakim,
Funkadelic,
Joe Smooth,
Pagans,
Sun Ra,
The Move,
Johnny Clarke,
Inner City,
Talk Talk,
Y Pants,
Bang On A Can,
Nik Kershaw,
Pulsallama,
Avey Tare's Slasher Flicks, Avey Tare's Slasher Flicks, Avey Tare's Slasher Flicks, Avey Tare's Slasher Flicks.
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.