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 Liechtenstein and from Columbus.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Jakarta and Edmonton.
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 oboe sounds with much patience.
I was there when Michael McDonald 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 Fela Kuti to the techno 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 Cabaret Voltaire. All the underground hits.
All Kings Of Tomorrow tracks. I heard you have a vinyl of every X-101 record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
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 E-Dancer record.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Robert Hood,
The Chocolate Watch Band,
X-101,
Erasure,
Pantaleimon,
Monolake,
Lightning Bolt,
Ash Ra Tempel,
Crispy Ambulance,
Drexciya,
Shuggie Otis,
Robert Wyatt,
Bush Tetras,
U.S. Maple,
Janne Schatter,
The Cowsills,
The American Breed,
Gregory Isaacs,
Leonard Cohen,
Judy Mowatt,
Marmalade,
Bobby Byrd,
A Flock of Seagulls,
Pagans,
Minny Pops,
Fat Boys,
Max Romeo,
Dawn Penn,
The Techniques,
One Last Wish,
Khruangbin,
The Fortunes,
Amon Düül,
Graham Central Station,
Girls At Our Best!,
Organ,
Gabor Szabo,
The United States of America,
Pussy Galore,
The Beau Brummels,
Letta Mbulu,
Ponytail,
ABC,
Interpol,
Terry Callier,
Rufus Thomas,
Ice-T,
June Days,
Angels of Light & Akron/Family,
Sly & The Family Stone,
Moss Icon,
Notorious Big And Bone Thugs,
PIL,
La Düsseldorf,
The Alarm Clocks,
Infiniti,
The Move,
Popol Vuh,
Jacques Brel,
Negative Approach,
Jeff Lynne, Jeff Lynne, Jeff Lynne, Jeff Lynne.
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.