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 Bosnia Herzegovina and from Copenhagen.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Accra and New York.
I'm losing my edge to the art-school Beijing 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 snare 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 The Barracudas to the punk kids.
I played it at the 40 Watt.
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 Fear. All the underground hits.
All Sällskapet tracks. I heard you have a vinyl of every Gil Scott-Heron and Jamie xx record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a chamberlin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a the Bar-Kays record.
I hear that you and your band have sold your güiro and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ornette Coleman,
Nation of Ulysses,
Cecil Taylor,
Youth Brigade,
Brass Construction,
Joensuu 1685,
T.S.O.L.,
Hot Snakes,
Neu!,
Amon Düül II,
Kayak,
KRS-One,
Liaisons Dangereuses,
The Index,
Little Man,
Notorious BIG live in Amsterdam,
Agitation Free,
The Flesh Eaters,
Jeff Mills,
Harmonia,
Barry Ungar,
Fort Wilson Riot,
Metal Thangz,
Bill Wells,
The Smiths,
Eli Mardock,
Isaac Hayes,
Prince Buster,
Minny Pops,
Wighnomy Brothers & Robag Wruhme,
Slick Rick,
Gregory Isaacs,
Arab on Radar,
Lucky Dragons,
Be Bop Deluxe,
Desert Stars,
Duran Duran,
8 Eyed Spy,
The Gun Club,
The Associates,
Judy Mowatt,
Marc Almond,
Sun Ra,
The Doobie Brothers,
Kenny Larkin,
Schoolly D,
Thompson Twins,
The J.B.'s,
Bill Near,
the Association,
Fela Kuti,
X-Ray Spex,
Reagan Youth,
Tommy Roe,
The Alarm Clocks,
The Young Rascals,
The Peanut Butter Conspiracy,
Crime,
Bobby Sherman,
Depeche Mode,
John Lydon,
Niagra,
Icehouse, Icehouse, Icehouse, Icehouse.
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.