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 Kyrgyzstan and from London.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Madrid and Seoul.
I'm losing my edge to the art-school Philadelphia 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 marimba 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 Curtis Mayfield to the disco 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 Andrew Ashong & Theo Parrish. All the underground hits.
All The Electric Prunes tracks. I heard you have a vinyl of every Metal Thangz record on German import.
I heard that you have a white label of every seminal jazz 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 marimba and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Babytalk 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?
Harpers Bizarre,
Symarip,
Depeche Mode,
Yaz,
Flipper,
Donald Byrd,
The Mojo Men,
The Techniques,
Kool G Rap & DJ Polo,
Drexciya,
Bobbi Humphrey,
Graham Central Station,
Leonard Cohen,
The Remains,
Joe Smooth,
The Shadows of Knight,
Make Up,
Terrestrial Tones,
Minor Threat,
Colin Newman,
June of 44,
Ten City,
The Human League,
Kango’s Stein Massive,
Andrew Hill,
Youth Brigade,
The Mighty Diamonds,
Motorama,
the Sonics,
These Immortal Souls,
Traffic Nightmare,
Nas,
Rhythim Is Rhythim,
Procol Harum,
Ponytail,
The Residents,
Unrelated Segments,
The Dead C,
John Lydon,
Loose Ends,
Bang on a Can All-Stars,
Albert Ayler,
the Fania All-Stars,
Sunsets and Hearts,
The Monochrome Set,
Dead Boys,
The Fuzztones,
the Association,
Accadde A,
Lou Christie,
DeepChord presents Echospace,
Theoretical Girls,
Second Layer,
Duran Duran,
The Index,
T. Rex,
Rapeman,
Frankie Knuckles,
Gabor Szabo,
Siouxsie and the Banshees,
the Germs, the Germs, the Germs, the Germs.
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.