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 Ecuador and from Manchester.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Taipei and Hong Kong.
I'm losing my edge to the art-school Mexico City 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the synthesizer sounds with much patience.
I was there when Holger Czukay 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 Pharoah Sanders to the rock kids.
I played it at Cafe Wha.
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 Eric Dolphy. All the underground hits.
All Guru Guru tracks. I heard you have a vinyl of every Bootsy Collins record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a sitar and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Barclay James Harvest record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jerry Gold Smith,
Godley & Creme,
Hoover,
Magazine,
The Pop Group,
Crime,
Zapp,
Black Flag,
The Blackbyrds,
The Angels of Light,
Cal Tjader,
Drive Like Jehu,
Tom Boy,
Audionom,
Arcadia,
Mandrill,
Mary Jane Girls,
Absolute Body Control,
Pagans,
Bootsy's Rubber Band,
The Royal Family And The Poor,
Robert Hood,
UT,
Jeff Mills,
The Victims,
The Walker Brothers,
The Moody Blues,
Pete Rock & C.L. Smooth,
Alison Limerick,
The Peanut Butter Conspiracy,
Sparks,
Matthew Halsall,
Visage,
Black Pus,
Fat Boys,
Metal Thangz,
Dorothy Ashby,
Wolf Eyes,
The Golliwogs,
Blake Baxter,
The Monks,
Marvin Gaye,
Bang on a Can All-Stars,
Peter & Gordon,
X-102,
Iggy Pop,
Underground Resistance,
Japan,
Nick Fraelich,
The Smiths,
Alphaville,
Stetsasonic,
Bush Tetras,
The Gap Band,
Interpol,
Kool G Rap & DJ Polo,
The Smoke,
Hardrive,
Ronnie Foster,
La Düsseldorf,
Loose Ends,
Neil Young,
Cymande,
Eddi Front, Eddi Front, Eddi Front, Eddi Front.
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.