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 Mali and from Mexico City.
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 1973.
I'm losing my edge.
To all the kids in Seoul and Houston.
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 1984 at the first Arcadia practice in a loft in London.
I was working on the synthesizer sounds with much patience.
I was there when Michael McDonald 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 Funkadelic to the jazz 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 Charles Mingus. All the underground hits.
All Major Organ And The Adding Machine tracks. I heard you have a vinyl of every Letta Mbulu 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 '70s.
I hear you're buying a sitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Sad Lovers and Giants record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Kinks,
the Slits,
Joyce Sims,
Smog,
Basic Channel,
the Normal,
Tom Boy,
Camouflage,
Rapeman,
The Raincoats,
E-Dancer,
Eric Copeland,
Cybotron,
Television Personalities,
Jeff Mills,
Robert Wyatt,
Harry Pussy,
The Trojans,
Roy Ayers,
Pylon,
Livin' Joy,
Jeff Lynne,
Ice-T,
Desert Stars,
The Cosmic Jokers,
The Cowsills,
The Five Americans,
Agent Orange,
La Düsseldorf,
David Axelrod,
Glenn Branca,
Porter Ricks,
Radio Birdman,
Interpol,
Sticky Fingaz feat. Raekwon,
Hasil Adkins,
Alison Limerick,
Grandmaster Flash and the Furious Five,
Gabor Szabo,
Blossom Toes,
The Modern Lovers,
Au Pairs,
Fluxion,
Grey Daturas,
The Detroit Cobras,
James Chance & The Contortions,
Gil Scott-Heron and Jamie xx,
The Motions,
The Angels of Light,
Camron Feat. Memphis Bleek And Beenie Seigel,
Marc Almond,
Animal Collective,
Crispy Ambulance,
This Heat,
Man Eating Sloth,
Lindisfarne,
The Mighty Diamonds,
Crispian St. Peters,
Arthur Verocai,
Jawbox, Jawbox, Jawbox, Jawbox.
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.