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 Saudi Arabia and from Glasgow.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Tehran and Lille.
I'm losing my edge to the art-school Bremen 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 sitar 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 The Invisible to the punk 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 Laurel Aitken. All the underground hits.
All Kerri Chandler tracks. I heard you have a vinyl of every The Tremeloes 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 '50s cut and another box set from the '90s.
I hear you're buying a mellotron and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Invisible record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
UT,
Jesper Dahlbäck,
Hot Snakes,
Kerri Chandler,
the Soft Cell,
Reuben Wilson,
Lindisfarne,
Kaleidoscope,
Deepchord,
Jawbox,
Terror Squad Feat. Camron,
Deadbeat,
Essential Logic,
Lou Reed,
Guru Guru,
Unwound,
Albert Ayler,
Pylon,
The Doors,
Kango’s Stein Massive,
48th St. Collective,
Amon Düül,
Severed Heads,
The United States of America,
Moss Icon,
Make Up,
Lalo Schifrin,
Kool G Rap & DJ Polo,
Quadrant,
Johnny Clarke,
Marc Almond,
The Selecter,
The Saints,
Rapeman,
CMW,
Cabaret Voltaire,
Graham Central Station,
Swell Maps,
The Cosmic Jokers,
Easy Going,
Steve Hackett,
Pantaleimon,
Shuggie Otis,
Art Ensemble Of Chicago,
Interpol,
Joe Smooth,
Idris Muhammad,
Joensuu 1685,
Kool Moe Dee,
OOIOO,
The Mighty Diamonds,
Young Marble Giants,
The Tremeloes,
Sällskapet,
Amazonics,
Mark Hollis,
Khruangbin,
Panda Bear,
Visionaries,LMNO, T- Love & Iriscience,
Heavy D & The Boyz,
Bootsy's Rubber Band, Bootsy's Rubber Band, Bootsy's Rubber Band, Bootsy's Rubber Band.
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.