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 the UAE and from Johannesburg.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Lyon and Beijing.
I'm losing my edge to the art-school Delhi 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 synthesizer sounds with much patience.
I was there when Michael McDonald 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 James Chance & The Contortions to the grime kids.
I played it at the Spitz.
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 Jesper Dahlback. All the underground hits.
All Mo-Dettes tracks. I heard you have a vinyl of every Kayak record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an oboe and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Mark Hollis record.
I hear that you and your band have sold your rhodes and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Yazoo,
Kerrie Biddell,
K-Klass,
Bobby Hutcherson,
Rhythim Is Rhythim,
Marine Girls,
Drexciya,
Jimmy McGriff,
Jacob Miller,
Country Joe & The Fish,
Joe Smooth,
F. McDonald,
Bob Dylan,
The J.B.'s,
Little Man,
The Stooges,
Byron Stingily,
The Angels of Light,
H. Thieme,
Janne Schatter,
Soft Cell,
Oppenheimer Analysis,
Ituana,
Public Image Ltd.,
ABBA,
Stockholm Monsters,
Howard Jones,
Avey Tare,
Masters at Work,
Spandau Ballet,
Arcadia,
Neil Young,
Metal Thangz,
Magma,
The Grass Roots,
Lalo Schifrin,
Unrelated Segments,
Los Fastidios,
Subhumans,
Smog,
The Monks,
Judy Mowatt,
Grandmaster Flash,
Anakelly,
Kango’s Stein Massive,
Tears for Fears,
Rahsaan Roland Kirk,
The Raincoats,
Icehouse,
Angry Samoans,
D'Angelo,
Gerry Rafferty,
The Alarm Clocks,
Kevin Saunderson,
Anthony Braxton,
Soul Sonic Force,
the Germs,
The Mojo Men,
Basic Channel,
JFA,
Massinfluence,
Henry Cow,
The Mighty Diamonds,
Peter & Gordon, Peter & Gordon, Peter & Gordon, Peter & Gordon.
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.