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 Bologna.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1968 to 1977.
I'm losing my edge.
To all the kids in Manchester and Halifax.
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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the organ sounds with much patience.
I was there when Robert Palmer 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 Pierre Henry to the grunge kids.
I played it at Trash.
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 Monks. All the underground hits.
All The Pop Group tracks. I heard you have a vinyl of every Average White Band 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 '50s cut and another box set from the '80s.
I hear you're buying a mellotron and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Accadde A record.
I hear that you and your band have sold your sitar and bought a theremin.
I hear that you and your band have sold your theremin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roy Ayers Ubiquity,
Davy DMX,
Darondo,
T.S.O.L.,
Yellowson,
Jandek,
Cluster,
Country Teasers,
London Community Gospel Choir,
Flash Fearless,
The Electric Prunes,
Bill Near,
Erykah Badu,
Sly & The Family Stone,
Moby Grape,
Alton Ellis,
The Alarm Clocks,
The Count Five,
Kevin Saunderson,
Dorothy Ashby,
Radiopuhelimet,
Fugazi,
Quando Quango,
Toni Rubio,
Drexciya,
Brothers Johnson,
Rekid,
Mandrill,
Soul II Soul,
Dawn Penn,
Colin Newman,
Selector Dub Narcotic,
PIL,
Warsaw,
The Busters,
These Immortal Souls,
The Human League,
Youth Brigade,
Ice-T,
Vladislav Delay,
Crooked Eye,
Andrew Hill,
Faust,
Rahsaan Roland Kirk,
Ultravox,
the Association,
Nirvana,
Super Lover Cee & Casanova Rud,
Lou Reed & John Cale,
The Trojans,
Joey Negro,
Jacob Miller,
kango's stein massive,
Audionom,
Black Moon,
The Cosmic Jokers,
Supertramp,
Cameo,
Loose Ends, Loose Ends, Loose Ends, Loose Ends.
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.