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 Malta and from Bologna.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Halifax and Beijing.
I'm losing my edge to the art-school Lyon 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 808 sounds with much patience.
I was there when Lou Reed 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 Man Eating Sloth 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 Ken Boothe. All the underground hits.
All Blancmange tracks. I heard you have a vinyl of every Deadbeat record on German import.
I heard that you have a white label of every seminal punk 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 an arpeggiator and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your mellotron and bought a snare.
I hear that you and your band have sold your snare and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fela Kuti,
The Victims,
The Moody Blues,
The Index,
Sarah Menescal,
Kas Product,
Pagans,
Kevin Saunderson,
The Happenings,
Eric Copeland,
U.S. Maple,
Symarip,
Al Stewart,
Soulsonic Force,
Von Mondo,
The Mojo Men,
The Litter,
Gil Scott-Heron & Brian Jackson,
cv313,
Banda Bassotti,
X-101,
Qualms,
Albert Ayler,
Kurtis Blow,
Erasure,
X-Ray Spex,
Soul II Soul,
Lou Christie,
Magazine,
Animal Collective,
Dave Gahan,
The Barracudas,
The Doobie Brothers,
The Associates,
Grandmaster Flash,
Vainqueur,
Lou Reed,
Pere Ubu,
The Searchers,
New York Dolls,
Can,
Todd Terry,
Alphaville,
Gang Gang Dance,
Saccharine Trust,
Stetsasonic,
Man Parrish,
The Seeds,
Excepter,
Barry Ungar,
Eddi Front,
Jesper Dahlbäck,
Magma,
Motorama,
Ultramagnetic MC's,
Alison Limerick,
The American Breed,
Clear Light,
Unwound,
Kerrie Biddell,
Moby Grape, Moby Grape, Moby Grape, Moby Grape.
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.