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 Belarus and from Hong Kong.
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 1979.
I'm losing my edge.
To all the kids in Glasgow and Philadelphia.
I'm losing my edge to the art-school Portland 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the marimba 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 Nirvana to the grime 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 Kango’s Stein Massive. All the underground hits.
All The Sound tracks. I heard you have a vinyl of every China Crisis record on German import.
I heard that you have a white label of every seminal grime 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 chamberlin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Hardrive record.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Drive Like Jehu,
Derrick Morgan,
Electric Light Orchestra,
Make Up,
Godley & Creme,
Gil Scott Heron,
Deutsch Amerikanische Freundschaft,
Cymande,
Art Ensemble Of Chicago,
The Raincoats,
Los Fastidios,
Robert Görl,
Bauhaus,
DJ Style,
Grey Daturas,
Zapp,
Ultimate Spinach,
Junior Murvin,
Country Joe & The Fish,
Johnny Clarke,
The Dirtbombs,
A Flock of Seagulls,
Scott Walker,
Deakin,
Ice-T,
The Names,
Crispian St. Peters,
Roy Ayers Ubiquity,
Alphaville,
the Association,
Mark Hollis,
The Litter,
Amon Düül,
Dorothy Ashby,
Lakeside,
Glambeats Corp.,
Subhumans,
The Fortunes,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Fuzztones,
Bobby Hutcherson,
Chris Corsano,
Flash Fearless,
Q and Not U,
James Chance & The Contortions,
Bang on a Can All-Stars,
Gabor Szabo,
Danielle Patucci,
Altered Images,
Trumans Water,
Thompson Twins,
Jacques Brel,
Funkadelic,
UT,
Minutemen,
Gil Scott-Heron and Jamie xx,
The Standells,
Rhythim Is Rhythim,
Mo-Dettes,
Faust,
The Star Department, The Star Department, The Star Department, The Star Department.
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.