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 Belize and from Bologna.
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 1977.
I'm losing my edge.
To all the kids in Jakarta and Manchester.
I'm losing my edge to the art-school London 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the organ sounds with much patience.
I was there when Captain Beefheart 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 Al Stewart to the techno 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 De La Soul & Jungle Brothers. All the underground hits.
All Pharoah Sanders tracks. I heard you have a vinyl of every Sonny Sharrock record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Arthur Verocai 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?
10cc,
Jacob Miller,
Alphaville,
48th St. Collective,
Silicon Teens,
the Swans,
Sugar Minott,
Curtis Mayfield,
Delon & Dalcan,
Freddie Wadling,
Patti Smith,
Jawbox,
Louis and Bebe Barron,
Second Layer,
Newcleus,
Joe Finger,
The Kinks,
Black Bananas,
The Star Department,
Cameo,
Scratch Acid,
Soft Cell,
Radiohead,
The United States of America,
Mark Hollis,
Gabor Szabo,
Electric Light Orchestra,
The Black Dice,
Ralphi Rosario,
Agitation Free,
F. McDonald,
Black Moon,
Ultimate Spinach,
The Searchers,
Simply Red,
Nik Kershaw,
Aural Exciters,
Angry Samoans,
Strawberry Alarm Clock,
June of 44,
Half Japanese,
Toni Rubio,
Desert Stars,
The Litter,
John Coltrane,
Ituana,
Essential Logic,
Judy Mowatt,
Pet Shop Boys,
Gil Scott Heron,
Larry & the Blue Notes,
The Invisible,
Cecil Taylor,
Talk Talk,
Trumans Water,
June Days,
Kayak,
The Mighty Diamonds,
Pere Ubu,
Kenny Larkin,
Porter Ricks,
Girls At Our Best!,
Bang on a Can All-Stars,
The Sisters of Mercy, The Sisters of Mercy, The Sisters of Mercy, The Sisters of Mercy.
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.