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 Portugal and from Shanghai.
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 1966 to 1973.
I'm losing my edge.
To all the kids in New York and Manchester.
I'm losing my edge to the art-school Glasgow 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the oboe 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 Ornette Coleman to the rock kids.
I played it at the Spitz.
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 Ornette Coleman. All the underground hits.
All The Chocolate Watch Band tracks. I heard you have a vinyl of every Popol Vuh record on German import.
I heard that you have a white label of every seminal rock 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 chamberlin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Theoretical Girls record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Au Pairs,
Janne Schatter,
Donny Hathaway,
Angels of Light & Akron/Family,
The Red Krayola,
Adolescents,
Todd Rundgren,
Marshall Jefferson,
The Gories,
David Axelrod,
Rotary Connection,
The Alarm Clocks,
Eve St. Jones,
Gong,
Reuben Wilson,
The Human League,
Traffic Nightmare,
Barry Ungar,
Sad Lovers and Giants,
Pierre Henry,
Jerry's Kids,
cv313,
Glambeats Corp.,
Liliput,
The Buckinghams,
Amazonics,
The Fugs,
Faust,
Beasts of Bourbon,
Bill Near,
The Beau Brummels,
The Victims,
Cluster,
The Pretty Things,
Erasure,
Gil Scott-Heron and Jamie xx,
The Smoke,
The Kinks,
Kas Product,
Depeche Mode,
Dave Gahan,
Althea and Donna,
F. McDonald,
Susan Cadogan,
Mandrill,
DNA,
Mark Hollis,
Quando Quango,
The Jesus and Mary Chain,
The Fall,
Kevin Saunderson,
Cabaret Voltaire,
Wings,
Tim Buckley,
The Real Kids,
Aloha Tigers,
The Trojans,
Matthew Halsall,
The Doobie Brothers,
Eurythmics,
The West Coast Pop Art Experimental Band,
Brand Nubian, Brand Nubian, Brand Nubian, Brand Nubian.
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.