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 Solomon Islands and from Tokyo.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Hong Kong and Manchester.
I'm losing my edge to the art-school Milan 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 Second Layer practice in a loft in South London.
I was working on the sitar 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 Reuben Wilson to the dance kids.
I played it at the 40 Watt.
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 Lyres. All the underground hits.
All Swell Maps tracks. I heard you have a vinyl of every Prince Buster 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 '90s.
I hear you're buying a spring reverb and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Interpol record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Das Ding,
The Martian,
The Sonics,
Country Joe & The Fish,
Lee Hazlewood,
Rekid,
The Men They Couldn't Hang,
Cabaret Voltaire,
Subhumans,
Scientists,
The Techniques,
Monolake,
La Düsseldorf,
the Fania All-Stars,
The Star Department,
Niagra,
Traffic Nightmare,
Wings,
Buzzcocks,
Echo & the Bunnymen,
The Stooges,
Icehouse,
The Pop Group,
Leonard Cohen,
Art Ensemble Of Chicago,
Intrusion,
Young Marble Giants,
The Detroit Cobras,
Dead Boys,
The Alarm Clocks,
8 Eyed Spy,
Selector Dub Narcotic,
Kurtis Blow,
Reuben Wilson,
Roger Hodgson,
Tropical Tobacco,
Metal Thangz,
kango's stein massive,
Marshall Jefferson,
Al Stewart,
Fela Kuti,
Nils Olav,
Lalann,
Tubeway Army,
Hardrive,
Donald Byrd,
The Blackbyrds,
Peter Gordon & Love of Life Orchestra,
Danielle Patucci,
The Jesus and Mary Chain,
Kings Of Tomorrow,
Nirvana,
Boogie Down Productions,
Dennis Brown,
Electric Prunes,
The Doors,
Main Source,
Hasil Adkins,
Shuggie Otis,
Maurizio,
John Holt,
Animal Collective,
Joyce Sims,
Bad Manners,
These Immortal Souls, These Immortal Souls, These Immortal Souls, These Immortal Souls.
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.