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 Senegal and from Calgary.
But I was there.
I was there in 1976.
I was there at the first Chic 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 1969 to 1973.
I'm losing my edge.
To all the kids in Shanghai and Milan.
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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the snare sounds with much patience.
I was there when Michael McDonald 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 grunge 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 Throbbing Gristle. All the underground hits.
All Jimmy McGriff tracks. I heard you have a vinyl of every Boz Scaggs 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 '60s cut and another box set from the '70s.
I hear you're buying a harpsichord and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Moss Icon 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?
Grandmaster Flash,
June of 44,
Quadrant,
Junior Murvin,
The Seeds,
Saccharine Trust,
Echospace,
Mandrill,
the Bar-Kays,
Red Lorry Yellow Lorry,
Animal Collective,
Sly & The Family Stone,
Bob Dylan,
Unwound,
Röyhkä ja Rättö ja Lehtisalo,
Lafayette Afro Rock Band,
DJ Sneak,
Juan Atkins,
Judy Mowatt,
Symarip,
the Swans,
Lungfish,
Bobby Byrd,
Mad Mike,
Blancmange,
The Tremeloes,
Q and Not U,
Young Marble Giants,
the Fania All-Stars,
The Saints,
The Moody Blues,
The Searchers,
Nils Olav,
EPMD,
Aloha Tigers,
Stockholm Monsters,
Jeff Mills,
Manfred Mann's Earth Band,
The Moleskins,
Marmalade,
The Dave Clark Five,
Parry Music,
The Kinks,
Lower 48,
The Red Krayola,
Jesper Dahlback,
Inner City,
Jerry's Kids,
Letta Mbulu,
Sandy B,
Ituana,
Black Flag,
Zero Boys,
Cameo,
Sonny Sharrock,
Bush Tetras,
Alison Limerick,
Brick,
The Walker Brothers,
Neu!,
Television Personalities,
Intrusion,
PIL, PIL, PIL, PIL.
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.