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 Samoa and from Paris.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Hong Kong and Philadelphia.
I'm losing my edge to the art-school Bologna 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 spring reverb sounds with much patience.
I was there when Captain Beefheart 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 Sam Rivers to the grunge 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 The Tremeloes. All the underground hits.
All The Offenders tracks. I heard you have a vinyl of every Simply Red record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an oboe and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a James White and The Blacks record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Moby Grape,
Tubeway Army,
Bootsy's Rubber Band,
cv313,
The Remains,
Faraquet,
Minny Pops,
Michelle Simonal,
Animal Collective,
Notorious Big And Bone Thugs,
Röyhkä ja Rättö ja Lehtisalo,
It's A Beautiful Day,
The Detroit Cobras,
Mars,
The Busters,
Duran Duran,
Outsiders,
Roger Hodgson,
Drive Like Jehu,
Depeche Mode,
Urselle,
Stiv Bators,
Bobby Hutcherson,
Peter and Kerry,
Matthew Halsall,
Public Image Ltd.,
Essential Logic,
Ornette Coleman,
Visage,
Thompson Twins,
Index,
Bob Dylan,
Television Personalities,
Barry Ungar,
Moebius,
Banda Bassotti,
AZ,
Kings Of Tomorrow,
Lyres,
The Music Machine,
June of 44,
The Flesh Eaters,
MDC,
The Residents,
Harry Pussy,
Procol Harum,
The Offenders,
Manfred Mann's Earth Band,
Heaven 17,
Inner City,
Mary Jane Girls,
Hasil Adkins,
Thee Headcoats,
Suburban Knight,
Talk Talk,
Louis and Bebe Barron,
Marcia Griffiths,
Country Teasers,
Joy Division,
The Pop Group,
Yusef Lateef,
Crash Course in Science,
Ohio Players, Ohio Players, Ohio Players, Ohio Players.
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.