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 Mauritius and from Bremen.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Bologna and Winnipeg.
I'm losing my edge to the art-school Mexico City 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the mellotron 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 the Bar-Kays to the punk 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 Bill Wells. All the underground hits.
All The Fire Engines tracks. I heard you have a vinyl of every La Düsseldorf 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 '90s.
I hear you're buying a mellotron and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Cabaret Voltaire record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Louis and Bebe Barron,
Scratch Acid,
Bad Manners,
Bob Dylan,
Desert Stars,
Max Romeo,
The Music Machine,
The Litter,
Moby Grape,
Boogie Down Productions,
The Golliwogs,
The Zeros,
Andrew Ashong & Theo Parrish,
Japan,
Young Marble Giants,
Kurtis Blow,
LL Cool J,
Anakelly,
The Doors,
Mary Jane Girls,
Lee Hazlewood,
Kayak,
Faust,
Freddie Wadling,
The J.B.'s,
Jeff Lynne,
The Associates,
Black Moon,
Hot Snakes,
Rhythm & Sound,
Oblivians,
Crime,
Crispian St. Peters,
Mr. Review,
Spoonie Gee,
Eve St. Jones,
Q and Not U,
The Cramps,
Ossler,
Fat Boys,
Avey Tare,
Delta 5,
Second Layer,
The Trojans,
Panda Bear,
Radiohead,
Dr. Dre and Snoop Doggy Dog,
Sly & The Family Stone,
Wighnomy Brothers & Robag Wruhme,
Harpers Bizarre,
Vladislav Delay,
Mantronix,
Bang on a Can All-Stars,
Rakim,
James White and The Blacks,
Pharaoh Sanders and the Fire Engines,
Scott Walker,
Unrelated Segments,
The Happenings,
a-ha,
The Sound,
Big Daddy Kane,
Neil Young & Crazy Horse, Neil Young & Crazy Horse, Neil Young & Crazy Horse, Neil Young & Crazy Horse.
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.