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 Samoa and from Edmonton.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1970.
I'm losing my edge.
To all the kids in Cairo and Mexico City.
I'm losing my edge to the art-school Philadelphia 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 rhodes sounds with much patience.
I was there when Captain Beefheart 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 David Axelrod to the grime kids.
I played it at the Troubador.
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 Ronan. All the underground hits.
All The Victims tracks. I heard you have a vinyl of every Oblivians record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a sitar and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Young Marble Giants record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Blackbyrds,
8 Eyed Spy,
Eve St. Jones,
Johnny Clarke,
Country Teasers,
Bluetip,
Larry & the Blue Notes,
Pierre Henry,
The Five Americans,
Skriet,
The Remains,
Scrapy,
Boredoms,
The J.B.'s,
Andrew Hill,
Scion,
Bauhaus,
Vainqueur,
The Mummies,
PIL,
Tubeway Army,
Anakelly,
Al Stewart,
Babytalk,
Audionom,
Model 500,
Camouflage,
Eric B and Rakim,
Throbbing Gristle,
Procol Harum,
Donny Hathaway,
Scott Walker,
Mary Jane Girls,
Swans,
X-Ray Spex,
Ronan,
Byron Stingily,
DNA,
Pharaoh Sanders and the Fire Engines,
Yellowson,
Oppenheimer Analysis,
Laurel Aitken,
Newcleus,
Terror Squad Feat. Camron,
The Fire Engines,
Pussy Galore,
Erasure,
Jesper Dahlback,
Marcia Griffiths,
a-ha,
The Dirtbombs,
Brothers Johnson,
Ultravox,
The Cosmic Jokers,
Wally Richardson,
Terry Callier,
Toni Rubio,
New Age Steppers,
Bootsy's Rubber Band,
The Gories,
Agent Orange,
Amon Düül,
Barrington Levy,
Gabor Szabo, Gabor Szabo, Gabor Szabo, Gabor Szabo.
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.