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 Czech Republic and from Milan.
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 1975.
I'm losing my edge.
To all the kids in Mexico City and Glasgow.
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 1984 at the first Arcadia practice in a loft in London.
I was working on the clarinet sounds with much patience.
I was there when David Bowie 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 Desert Stars to the jazz kids.
I played it at CBGB's.
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 London Community Gospel Choir. All the underground hits.
All Peter and Kerry tracks. I heard you have a vinyl of every Country Teasers record on German import.
I heard that you have a white label of every seminal rock 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 theremin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a K-Klass record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ice-T,
Glambeats Corp.,
Nas,
Tim Buckley,
Black Sheep,
Joe Smooth,
Main Source,
Anakelly,
Niagra,
Con Funk Shun,
Morten Harket,
Panda Bear,
Kas Product,
Faraquet,
Deadbeat,
Monks,
Model 500,
Gabor Szabo,
Moss Icon,
The Durutti Column,
Wire,
Minor Threat,
The Associates,
Mr. Review,
Country Joe & The Fish,
Harry Pussy,
Skriet,
Tres Demented,
Wings,
Kerrie Biddell,
New Order,
The Men They Couldn't Hang,
the Swans,
Deepchord,
Mandrill,
Cluster,
Lee Hazlewood,
Bauhaus,
Oppenheimer Analysis,
The Offenders,
the Germs,
Barclay James Harvest,
Jeru the Damaja,
Guru Guru,
The Electric Prunes,
Gastr Del Sol,
David McCallum,
Teenage Jesus and the Jerks,
Amazonics,
The Black Dice,
Lindisfarne,
David Axelrod,
Public Image Ltd.,
Alton Ellis,
Beasts of Bourbon,
Silicon Teens,
Erykah Badu,
Magma,
Agent Orange,
The Divine Comedy,
Barbara Tucker, Barbara Tucker, Barbara Tucker, Barbara Tucker.
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.