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 Saudi Arabia and from Halifax.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Toronto and Edmonton.
I'm losing my edge to the art-school Manchester 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 synthesizer 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 Dark Day 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 Bob Dylan. All the underground hits.
All Sixth Finger tracks. I heard you have a vinyl of every David McCallum 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 '60s cut and another box set from the '90s.
I hear you're buying a güiro and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Slave record.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Super Lover Cee & Casanova Rud,
Scratch Acid,
Hasil Adkins,
Alice Coltrane,
Henry Cow,
Swell Maps,
Altered Images,
Spandau Ballet,
Motorama,
Con Funk Shun,
Easy Going,
Ronan,
New York Dolls,
Marc Romboy vs. Booka Shade,
The Slits,
Man Eating Sloth,
The Litter,
Ludus,
Glambeats Corp.,
Bill Near,
Bobby Byrd,
The Cosmic Jokers,
Oneida,
The Stooges,
B.T. Express,
Jesper Dahlback,
Organ,
Notorious Big And Bone Thugs,
Jeff Lynne,
Quando Quango,
Gang Green,
Parry Music,
Albert Ayler,
Schoolly D,
Pere Ubu,
Bush Tetras,
Pierre Henry,
Thinking Fellers Union Local 282,
Yazoo,
Visionaries,LMNO, T- Love & Iriscience,
Darondo,
Soulsonic Force,
Bootsy's Rubber Band,
Gil Scott-Heron & Brian Jackson,
MDC,
Delon & Dalcan,
The Mojo Men,
Kaleidoscope,
June Days,
Mary Jane Girls,
OOIOO,
Sad Lovers and Giants,
The Alarm Clocks,
Aswad,
The Gap Band,
The Men They Couldn't Hang,
Selector Dub Narcotic,
The Gun Club,
Sam Rivers,
Dorothy Ashby,
The Residents,
Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis.
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.