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 Guatemala and from Delhi.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Houston and Portland.
I'm losing my edge to the art-school Toronto 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the 808 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 Mandrill to the rock kids.
I played it at the Hacienda.
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 James Chance & The Contortions. All the underground hits.
All These Immortal Souls tracks. I heard you have a vinyl of every The Durutti Column record on German import.
I heard that you have a white label of every seminal dance 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 an organ and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Charles Mingus record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Livin' Joy,
Ituana,
David Axelrod,
Circle Jerks,
Pantytec,
Barry Ungar,
Animal Collective,
The Trojans,
Slave,
Magma,
Joyce Sims,
Traffic Nightmare,
Mandrill,
The Cowsills,
Sam Rivers,
Quantec,
Angels of Light & Akron/Family,
Pere Ubu,
Metal Thangz,
Los Fastidios,
The American Breed,
Cheater Slicks,
Eden Ahbez,
The Tremeloes,
Popol Vuh,
The Invisible,
Blake Baxter,
Cluster,
Red Lorry Yellow Lorry,
Excepter,
Technova,
Peter Gordon & Love of Life Orchestra,
MDC,
Gian Franco Pienzio,
Grey Daturas,
Bobbi Humphrey,
Subhumans,
Black Pus,
Nation of Ulysses,
Strawberry Alarm Clock,
Captain Beefheart & His Magic Band,
Bang On A Can,
Accadde A,
Ash Ra Tempel,
Leonard Cohen,
Moss Icon,
Ice-T,
Kool Moe Dee,
CMW,
Crispian St. Peters,
Reuben Wilson,
Freddie Wadling,
Flamin' Groovies,
Carl Craig,
Black Flag,
Lalo Schifrin,
Michelle Simonal,
Brick,
Pole,
Avey Tare's Slasher Flicks,
The Human League,
The Last Poets,
Zero Boys,
Young Marble Giants, Young Marble Giants, Young Marble Giants, Young Marble Giants.
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.