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 Portugal and from Taipei.
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 1970.
I'm losing my edge.
To all the kids in Tehran and Shanghai.
I'm losing my edge to the art-school Mumbai 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 1978 at the first Visage practice in a loft in London.
I was working on the organ sounds with much patience.
I was there when David Bowie 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 These Immortal Souls to the grunge kids.
I played it at the Astoria.
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 David McCallum. All the underground hits.
All Moby Grape tracks. I heard you have a vinyl of every Roy Ayers record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a theremin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Pop Group record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Infiniti,
Saccharine Trust,
Dark Day,
Camron Feat. Jay Z And Juelz,
Alice Coltrane,
Skaos,
Quando Quango,
John Coltrane,
Drive Like Jehu,
A Flock of Seagulls,
Gian Franco Pienzio,
The Mojo Men,
Public Image Ltd.,
Letta Mbulu,
Albert Ayler,
Eddi Front,
Rahsaan Roland Kirk,
Ohio Players,
Khruangbin,
James White and The Blacks,
Radiopuhelimet,
Los Fastidios,
Colin Newman,
Todd Terry,
Marcia Griffiths,
The Shadows of Knight,
Lou Reed,
Girls At Our Best!,
Scientists,
Minnie Riperton,
Skarface,
Nik Kershaw,
Shuggie Otis,
Cluster,
Siglo XX,
Major Organ And The Adding Machine,
Sunsets and Hearts,
Anakelly,
Gerry Rafferty,
Ultramagnetic MC's,
Procol Harum,
Bill Wells,
The Blues Magoos,
Hardrive,
Bootsy's Rubber Band,
Masters at Work,
John Lydon,
The Happenings,
Ituana,
Electric Light Orchestra,
Patti Smith,
The Dirtbombs,
Mandrill,
The Tremeloes,
Technova,
Gil Scott-Heron & Brian Jackson,
David Bowie,
Lou Reed & John Cale,
AZ,
Bob Dylan,
Harmonia,
The Cowsills, The Cowsills, The Cowsills, The Cowsills.
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.