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 Canada and from Delhi.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Stockholm and Beijing.
I'm losing my edge to the art-school Seoul 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 Buzzcocks practice in a loft in Bolton.
I was working on the snare sounds with much patience.
I was there when Donald Fagen 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 Real Kids to the grunge 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 Piero Umiliani. All the underground hits.
All Cymande tracks. I heard you have a vinyl of every ABC record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a rhodes and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Unrelated Segments record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
K-Klass,
The Residents,
DJ Sneak,
Brick,
Ten City,
The Skatalites,
Echospace,
Cameo,
Aural Exciters,
Donny Hathaway,
Sunsets and Hearts,
The Durutti Column,
Amon Düül,
Toni Rubio,
Barclay James Harvest,
Robert Görl,
Nick Fraelich,
Rekid,
Don Cherry,
Colin Newman,
Avey Tare & Kría Brekkan,
Pylon,
Panda Bear,
Rhythim Is Rhythim,
Niagra,
A Certain Ratio,
Ajijia Myrayebe,
Kings Of Tomorrow,
Sixth Finger,
Oblivians,
The Associates,
Ohio Players,
Carl Craig,
Man Eating Sloth,
The Pretty Things,
Jesper Dahlbäck,
The Moody Blues,
Sly & The Family Stone,
John Foxx,
Hoover,
Alton Ellis,
Marvin Gaye,
Drexciya,
H. Thieme,
Suicide,
Fad Gadget,
Mary Jane Girls,
Shuggie Otis,
Bob Dylan,
Ultra Naté,
Joe Finger,
Cal Tjader,
Peter & Gordon,
Deutsch Amerikanische Freundschaft,
Rites of Spring,
Minnie Riperton,
Popol Vuh,
Selector Dub Narcotic,
Lower 48,
Pere Ubu, Pere Ubu, Pere Ubu, Pere Ubu.
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.