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 Malawi and from Woodstock.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Seoul and Milan.
I'm losing my edge to the art-school Sao Paulo 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 Cameo to the techno kids.
I played it at the Crocodile.
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 The Smiths. All the underground hits.
All The Offenders tracks. I heard you have a vinyl of every Ash Ra Tempel 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 '70s cut and another box set from the '70s.
I hear you're buying a marimba and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Marc Romboy vs. Booka Shade record.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Tremeloes,
Don Cherry,
The Misunderstood,
Procol Harum,
Ten City,
The Moody Blues,
The Electric Prunes,
The Monks,
Maleditus Sound,
The Durutti Column,
Peter and Kerry,
Soulsonic Force,
Stereo Dub,
Yaz,
Anakelly,
The Victims,
Gang of Four,
Roy Ayers,
Lakeside,
LL Cool J,
John Holt,
Zero Boys,
Nils Olav,
Interpol,
Connie Case,
Pole,
Hot Snakes,
U.S. Maple,
The Count Five,
Scott Walker + Sunn O))),
Orchestral Manoeuvres in the Dark,
Isaac Hayes,
Piero Umiliani,
Steve Hackett,
Pete Rock & C.L. Smooth,
The Gap Band,
London Community Gospel Choir,
The Fall,
Ralphi Rosario,
Marcia Griffiths,
Lyres,
Sandy B,
Tim Buckley,
Sun Ra,
Thee Headcoats,
Eli Mardock,
Rhythim Is Rhythim,
Major Organ And The Adding Machine,
Matthew Halsall,
Loose Ends,
Flipper,
China Crisis,
Can,
Animal Collective,
The Index,
The Last Poets,
Beasts of Bourbon,
Soft Cell,
Ash Ra Tempel,
Kayak,
Oppenheimer Analysis,
The Wake,
Godley & Creme, Godley & Creme, Godley & Creme, Godley & Creme.
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.