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 Madagascar and from Lyon.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1970.
I'm losing my edge.
To all the kids in Stockholm and Sao Paulo.
I'm losing my edge to the art-school Edmonton 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 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 Delta 5 to the grunge kids.
I played it at the Spitz.
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 Supertramp. All the underground hits.
All Throbbing Gristle tracks. I heard you have a vinyl of every Eric Copeland 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 '80s cut and another box set from the '80s.
I hear you're buying a 808 and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a One Last Wish record.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bobby Byrd,
Ultra Naté,
Crispian St. Peters,
the Association,
Half Japanese,
Steve Hackett,
Can,
Brand Nubian,
The Modern Lovers,
Jesper Dahlbäck,
Eyeless In Gaza,
Pantytec,
Sexual Harrassment,
DJ Sneak,
Gabor Szabo,
Warsaw,
The Zeros,
Flipper,
Dual Sessions,
Derrick May,
The Invisible,
Sugar Minott,
The Slackers,
X-Ray Spex,
Kaleidoscope,
Minor Threat,
The Walker Brothers,
Severed Heads,
John Foxx,
Rites of Spring,
Icehouse,
Matthew Bourne,
Bizarre Inc.,
Rhythm & Sound,
Stetsasonic,
T. Rex,
Lou Reed & John Cale,
Oneida,
Eric B and Rakim,
Bobby Sherman,
Albert Ayler,
ABC,
Arthur Verocai,
Lonnie Liston Smith,
MDC,
A Flock of Seagulls,
Junior Murvin,
Max Romeo,
Marc Almond,
Cabaret Voltaire,
China Crisis,
Joensuu 1685,
Teenage Jesus and the Jerks,
Pantaleimon,
Agitation Free,
Lee Hazlewood,
Main Source,
Roger Hodgson,
Guru Guru,
David Axelrod,
Man Eating Sloth,
A Certain Ratio,
Khruangbin, Khruangbin, Khruangbin, Khruangbin.
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.