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 Luxembourg and from Copenhagen.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 Beijing and Delhi.
I'm losing my edge to the art-school New York 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 harpsichord sounds with much patience.
I was there when Robert Palmer 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 Public Image Ltd. to the dance 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 Be Bop Deluxe. All the underground hits.
All Joyce Sims tracks. I heard you have a vinyl of every Jerry's Kids record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a 808 and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Liaisons Dangereuses record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Loose Ends,
Little Man,
Lyres,
Thee Headcoats,
Roxette,
Albert Ayler,
Blancmange,
Avey Tare & Kría Brekkan,
The Star Department,
Zapp,
Parry Music,
Byron Stingily,
Jawbox,
Grandmaster Flash and the Furious Five,
The Music Machine,
The Residents,
Sam Rivers,
Johnny Clarke,
Bobby Hutcherson,
Minor Threat,
Animal Collective,
Khruangbin,
Pole,
Gian Franco Pienzio,
The Pop Group,
The Saints,
Country Teasers,
The Blackbyrds,
Technova,
Aswad,
Charles Mingus,
The Sonics,
The Durutti Column,
Bronski Beat,
Cluster,
The Buckinghams,
Gang Starr,
Flash Fearless,
Scratch Acid,
Terry Callier,
JFA,
John Cale,
The Fortunes,
Drexciya,
Dual Sessions,
Country Joe & The Fish,
Sly & The Family Stone,
Underground Resistance,
A Certain Ratio,
Marshall Jefferson,
U.S. Maple,
Jerry Gold Smith,
Yusef Lateef,
Bush Tetras,
Black Bananas,
a-ha,
The Stooges,
Pharaoh Sanders and the Fire Engines,
Peter Gordon & Love of Life Orchestra,
Lower 48,
Richard Hell and the Voidoids, Richard Hell and the Voidoids, Richard Hell and the Voidoids, Richard Hell and the Voidoids.
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.