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 Seychelles and from Beijing.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Manchester and Tehran.
I'm losing my edge to the art-school Portland 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 clarinet sounds with much patience.
I was there when Michael McDonald 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 FM Einheit to the disco kids.
I played it at the Astoria.
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 Larry & the Blue Notes. All the underground hits.
All Skaos tracks. I heard you have a vinyl of every Susan Cadogan 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 an arpeggiator and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Moby Grape record.
I hear that you and your band have sold your marimba and bought a güiro.
I hear that you and your band have sold your güiro and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultravox,
Rod Modell,
KRS-One,
Heavy D & The Boyz,
Malaria!,
Dr. Dre and Snoop Doggy Dog,
Brothers Johnson,
Technova,
Nick Fraelich,
The Buckinghams,
Scratch Acid,
Outsiders,
Wighnomy Brothers & Robag Wruhme,
The Offenders,
Spandau Ballet,
Agitation Free,
the Sonics,
Deakin,
Ohio Players,
Mandrill,
Silicon Teens,
Reuben Wilson,
Nirvana,
Public Enemy,
The Sisters of Mercy,
Maleditus Sound,
Eurythmics,
Glambeats Corp.,
Pole,
The Misunderstood,
Joy Division,
H. Thieme,
Visionaries,LMNO, T- Love & Iriscience,
Electric Prunes,
Eddi Front,
Camouflage,
Siouxsie and the Banshees,
Newcleus,
Warren Ellis,
Sad Lovers and Giants,
Fort Wilson Riot,
Ultra Naté,
Sugar Minott,
Alison Limerick,
Fifty Foot Hose,
The Divine Comedy,
Sparks,
Eyeless In Gaza,
Livin' Joy,
Deepchord,
Jeru the Damaja,
The Grass Roots,
The Doobie Brothers,
Art Ensemble Of Chicago,
Mad Mike,
Second Layer,
The Detroit Cobras,
John Holt,
Donald Byrd,
John Foxx,
Lou Christie,
Bootsy's Rubber Band,
Rahsaan Roland Kirk,
Half Japanese, Half Japanese, Half Japanese, Half Japanese.
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.