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 St Lucia and from Bologna.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Bremen and Beijing.
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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the harpsichord 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 Sunsets and Hearts to the punk kids.
I played it at the Crocodile.
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 The Electric Prunes. All the underground hits.
All Faraquet tracks. I heard you have a vinyl of every Scrapy record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a guitar and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Brothers Johnson record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Avey Tare,
Orchestral Manoeuvres in the Dark,
Ohio Players,
Bob Dylan,
Don Cherry,
Frankie Knuckles,
Piero Umiliani,
kango's stein massive,
CMW,
Rakim,
Letta Mbulu,
Gong,
The Cramps,
The Doobie Brothers,
Metal Thangz,
Hasil Adkins,
Black Flag,
Smog,
Theoretical Girls,
Agent Orange,
Tears for Fears,
John Holt,
Matthew Bourne,
The Mojo Men,
Dorothy Ashby,
Echo & the Bunnymen,
Bobbi Humphrey,
Eric B and Rakim,
The Moleskins,
Simply Red,
Sad Lovers and Giants,
Faust,
Sonic Youth,
Warsaw,
Terrestrial Tones,
Avey Tare & Kría Brekkan,
The Gap Band,
Deepchord,
Soft Cell,
Black Pus,
Anthony Braxton,
Reagan Youth,
Sound Behaviour,
The Raincoats,
Fifty Foot Hose,
Sugar Minott,
Sixth Finger,
Camberwell Now,
Procol Harum,
Glambeats Corp.,
Patti Smith,
Q65,
Slave,
Organ,
The Flesh Eaters,
Chrome,
Delta 5,
Suicide,
Peter & Gordon,
Lou Reed & Metallica,
Peter and Kerry,
Jacob Miller,
Swell Maps,
Ronan,
Banda Bassotti, Banda Bassotti, Banda Bassotti, Banda Bassotti.
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.