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 Tuvalu and from Johannesburg.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1965 to 1973.
I'm losing my edge.
To all the kids in Shanghai and Johannesburg.
I'm losing my edge to the art-school Milan 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 oboe sounds with much patience.
I was there when Donald Fagen 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 Bang on a Can All-Stars to the funk kids.
I played it at CBGB's.
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 D'Angelo. All the underground hits.
All Black Flag tracks. I heard you have a vinyl of every Traffic Nightmare 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 guitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Public Enemy record.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cameo,
Lucky Dragons,
Marc Almond,
Country Teasers,
The Martian,
Crash Course in Science,
The Music Machine,
Rhythm & Sound,
Moebius,
Au Pairs,
Thinking Fellers Union Local 282,
David Axelrod,
The Golliwogs,
Khruangbin,
Sad Lovers and Giants,
Spoonie Gee,
Byron Stingily,
Roger Hodgson,
Ultravox,
Mars,
Minutemen,
Agent Orange,
Johnny Clarke,
Alphaville,
The Smiths,
The Saints,
Pylon,
Barclay James Harvest,
Reuben Wilson,
Sight & Sound,
Slick Rick,
Ponytail,
the Swans,
Larry & the Blue Notes,
In Retrospect,
Public Image Ltd.,
Ralphi Rosario,
Andrew Ashong & Theo Parrish,
The Residents,
Matthew Bourne,
Bluetip,
Y Pants,
Infiniti,
Leonard Cohen,
Zapp,
Roxy Music,
Matthew Halsall,
Mandrill,
Siouxsie and the Banshees,
Hot Snakes,
Soul II Soul,
Teenage Jesus and the Jerks,
Babytalk,
Maurizio,
Television Personalities,
Severed Heads,
Bobby Sherman,
U.S. Maple,
Yaz,
Delta 5,
cv313,
The Star Department,
Soft Machine,
8 Eyed Spy, 8 Eyed Spy, 8 Eyed Spy, 8 Eyed Spy.
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.