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 Kyrgyzstan and from Philadelphia.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Shanghai and Salvador.
I'm losing my edge to the art-school Glasgow 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the mellotron 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 Lou Christie to the jazz kids.
I played it at the Troubador.
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 D'Angelo. All the underground hits.
All Brick tracks. I heard you have a vinyl of every Marvin Gaye record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a rhodes and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Dead Boys record.
I hear that you and your band have sold your clarinet and bought a snare.
I hear that you and your band have sold your snare and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aaron Thompson,
The Sound,
Steve Hackett,
OOIOO,
Crime,
Minutemen,
Guru Guru,
Clear Light,
Junior Murvin,
Michelle Simonal,
Scientists,
the Sonics,
Technova,
Justin Hinds & The Dominoes,
Mark Hollis,
Ossler,
Faraquet,
Orchestral Manoeuvres in the Dark,
Oneida,
Sun City Girls,
The Flesh Eaters,
Wally Richardson,
Pylon,
Heavy D & The Boyz,
Fat Boys,
The Detroit Cobras,
Sonny Sharrock,
Jesper Dahlbäck,
Half Japanese,
Funky Four + One,
Carl Craig,
Camouflage,
Harmonia,
Rahsaan Roland Kirk,
Avey Tare & Kría Brekkan,
Strawberry Alarm Clock,
The Sonics,
Piero Umiliani,
The Remains,
Urselle,
The Shadows of Knight,
Charles Mingus,
EPMD,
Mr. Review,
Neil Young,
Flamin' Groovies,
Adolescents,
New Age Steppers,
The Residents,
Super Lover Cee & Casanova Rud,
Sun Ra,
This Heat,
Pharoah Sanders,
Gerry Rafferty,
John Foxx,
the Germs,
Rhythm & Sound,
Gong,
Magazine,
Bobby Womack,
Kango’s Stein Massive,
Matthew Halsall, Matthew Halsall, Matthew Halsall, Matthew Halsall.
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.