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 Laos and from Bologna.
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 1964 to 1976.
I'm losing my edge.
To all the kids in Lyon and Jakarta.
I'm losing my edge to the art-school Shanghai 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the harpsichord 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 Rufus Thomas 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 Heavy D & The Boyz. All the underground hits.
All The Litter tracks. I heard you have a vinyl of every The Invisible record on German import.
I heard that you have a white label of every seminal electroclash 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 güiro and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Selecter record.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Shuggie Otis,
Section 25,
Motorama,
John Foxx,
Zapp,
Robert Wyatt,
Flipper,
Harry Pussy,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Nick Fraelich,
Peter & Gordon,
Grey Daturas,
Sonic Youth,
Röyhkä ja Rättö ja Lehtisalo,
The Sound,
The Five Americans,
Black Flag,
Bob Dylan,
Traffic Nightmare,
Technova,
Colin Newman,
Mark Hollis,
Spandau Ballet,
Grauzone,
Captain Beefheart & His Magic Band,
The Leaves,
Parry Music,
Mandrill,
Popol Vuh,
Alison Limerick,
L. Decosne,
Super Lover Cee & Casanova Rud,
Country Joe & The Fish,
The Raincoats,
the Swans,
Public Image Ltd.,
Sister Nancy,
Terrestrial Tones,
Ossler,
Alice Coltrane,
Swell Maps,
Symarip,
Malaria!,
The Cure,
Morten Harket,
The Zeros,
Black Sheep,
Severed Heads,
the Bar-Kays,
Mr. Review,
DNA,
Thompson Twins,
Be Bop Deluxe,
Lonnie Liston Smith,
The Neon Judgement,
Crime,
The West Coast Pop Art Experimental Band,
Freddie Wadling,
Saccharine Trust,
The Detroit Cobras,
Easy Going,
Gastr Del Sol, Gastr Del Sol, Gastr Del Sol, Gastr Del Sol.
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.