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 Monaco and from Johannesburg.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 Johannesburg and Madrid.
I'm losing my edge to the art-school Sao Paulo 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 mellotron 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 Gil Scott-Heron and Jamie xx to the techno 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 the Fania All-Stars. All the underground hits.
All Public Image Ltd. tracks. I heard you have a vinyl of every The Real Kids 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 '90s.
I hear you're buying a linndrum and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Gastr Del Sol record.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott-Heron and Jamie xx,
Half Japanese,
Derrick Morgan,
The Move,
Avey Tare & Kría Brekkan,
Ten City,
Skriet,
Amazonics,
Barclay James Harvest,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Ornette Coleman,
The Fugs,
Joyce Sims,
Duran Duran,
The Skatalites,
Clear Light,
Pantytec,
The Offenders,
Subhumans,
Red Lorry Yellow Lorry,
The Gun Club,
The Angels of Light,
Masters at Work,
U.S. Maple,
The Mojo Men,
The Monks,
Major Organ And The Adding Machine,
Ponytail,
Moby Grape,
June of 44,
Fluxion,
Stereo Dub,
The Happenings,
Inner City,
Bill Wells,
Make Up,
Brick,
Todd Terry,
The Pretty Things,
Ultravox,
Maurizio,
Groovy Waters,
The Electric Prunes,
Country Joe & The Fish,
Visage,
The Fire Engines,
A Certain Ratio,
Sad Lovers and Giants,
Richard Hell and the Voidoids,
Quando Quango,
Kevin Saunderson,
Notorious BIG live in Amsterdam,
Ronnie Foster,
Teenage Jesus and the Jerks,
Dual Sessions,
Television Personalities,
Gil Scott-Heron & Brian Jackson,
Big Daddy Kane,
Gang Green,
Organ,
Thompson Twins,
Henry Cow,
The Doobie Brothers, The Doobie Brothers, The Doobie Brothers, The Doobie Brothers.
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.