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 Liberia and from Delhi.
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 1967 to 1977.
I'm losing my edge.
To all the kids in Beijing and Delhi.
I'm losing my edge to the art-school Paris 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 Josef K practice in a loft in Edinburgh.
I was working on the rhodes 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 The Red Krayola to the dance kids.
I played it at Trash.
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 Jesper Dahlbäck. All the underground hits.
All Johnny Osbourne tracks. I heard you have a vinyl of every Kings Of Tomorrow record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a clarinet and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Blake Baxter record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Reuben Wilson,
Boz Scaggs,
Susan Cadogan,
Pole,
Terror Squad Feat. Camron,
Sun City Girls,
Lebanon Hanover,
Sun Ra Arkestra,
The Dead C,
Peter & Gordon,
Q and Not U,
Rahsaan Roland Kirk,
Ronan,
Groovy Waters,
The Moleskins,
The Residents,
Roger Hodgson,
Sarah Menescal,
The Tremeloes,
Kerri Chandler,
Don Cherry,
The Seeds,
Black Moon,
Ajijia Myrayebe,
Rites of Spring,
Kevin Saunderson,
Lightning Bolt,
Juan Atkins,
Simply Red,
The Gap Band,
Cluster,
Interpol,
the Association,
Depeche Mode,
The Five Americans,
Make Up,
Glambeats Corp.,
Dawn Penn,
The Chocolate Watch Band,
Archie Shepp,
Andrew Hill,
World's Most,
The Sound,
Altered Images,
The Smiths,
Jacques Brel,
Wolf Eyes,
John Cale,
Scientists,
EPMD,
Sparks,
Nation of Ulysses,
Bang on a Can All-Stars,
Vladislav Delay,
The Golliwogs,
Sex Pistols,
Blancmange,
Stetsasonic,
Boredoms,
the Slits,
Tubeway Army,
Loose Ends,
Bauhaus,
Roy Ayers Ubiquity, Roy Ayers Ubiquity, Roy Ayers Ubiquity, Roy Ayers Ubiquity.
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.