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 Moldova and from Madrid.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1968 to 1975.
I'm losing my edge.
To all the kids in Philadelphia and Manila.
I'm losing my edge to the art-school London 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 spring reverb sounds with much patience.
I was there when Captain Beefheart 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 Fad Gadget to the disco kids.
I played it at the Roxy.
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 Quadrant. All the underground hits.
All Bill Near tracks. I heard you have a vinyl of every Manfred Mann's Earth Band 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 '60s cut and another box set from the '80s.
I hear you're buying a mellotron and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Pierre Henry record.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
DNA,
Bobby Byrd,
The J.B.'s,
Drive Like Jehu,
The Tremeloes,
Marc Almond,
Jimmy McGriff,
The Kinks,
Oneida,
L. Decosne,
Letta Mbulu,
Nico,
Gerry Rafferty,
The Pop Group,
Kurtis Blow,
Supertramp,
Bobby Hutcherson,
Dorothy Ashby,
Laurel Aitken,
Peter and Kerry,
Teenage Jesus and the Jerks,
Cabaret Voltaire,
Unrelated Segments,
The Mummies,
Deutsch Amerikanische Freundschaft,
Roger Hodgson,
Delon & Dalcan,
Jesper Dahlbäck,
Lakeside,
The Gap Band,
The Monochrome Set,
James White and The Blacks,
Deakin,
Todd Rundgren,
New Order,
Danielle Patucci,
Lonnie Liston Smith,
Lalo Schifrin,
Chrome,
Vaughan Mason & Crew,
Rotary Connection,
Eric B and Rakim,
Ajijia Myrayebe,
London Community Gospel Choir,
The Doobie Brothers,
Section 25,
H. Thieme,
David Axelrod,
Jesper Dahlback,
Sun City Girls,
Joey Negro,
Brick,
X-101,
Minny Pops,
Soft Cell,
The West Coast Pop Art Experimental Band,
Alison Limerick,
The Litter,
Graham Central Station,
Derrick May,
Richard Hell and the Voidoids,
Wire,
Heavy D & The Boyz,
The Cure,
Animal Collective, Animal Collective, Animal Collective, Animal Collective.
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.